James: Oh, oh.
J: Falsetto, oh.
I think I'm gonna cry.
[Rossini's Semiramide]
Umu: So now you're reacting to the famous Korean vocalist named Park Hyo Shin that we reacted to last year.
U: Now, you'll be reacting to his winter 2018 release called 'Sound of Winter'.
U: The song is about reminiscing towards someone precious that is no longer by your side and hoping the best for that person.
U: And it basically the song tries to portray the longing feeling that usually falls winter season,
U: and the song is actually a special gift for Park Hyo Shin's fans to beautify their winter.
U: This song is composed by Park Hyo Shin himself and arranged by Jung Jae Il.
U: Jung Jae Il worked with the Budapest Orchestra for the strings and choir.
U: Fun fact, the choir sings in Hungarian at the end of the song. Hugo: Oh sh*t son.
H: Uno, dos tres.
Elizabeth: Got those octaves.
James: Major third.
J: Oh.
E: It's just like the the the like drumline feels very little drummer boy, doesn't it? J: Yeah and the bell.
Charlotte: Think we're gonna have that low note pedal in the whole song. Peyton: Yeah, probably.
(singing)
C: I can't get that.
(singing) C: I can't do it.
James: Beautiful voice.
Elizabeth: Wow, do you hear the the sound the reverb he's got going there. J: Yeah, his voice is like resonant.
E: I don't know if they recorded in like a big room, but it sounds like you recorded in a big room
James: That's what you need with a ballad just a huge amount of reverb. Hugo: I was about to say, I'm digging the reverb, yeah.
Lindsey: That consistent timpani in the background that is so subtle it's like adding so much to it.
Fiona: It really does like a good bass.
L: It adds a subtle pulse that you wouldn't otherwise know.
James: Oh! That transition ooh, he's skilled that's great! Wow.
Kevin: Oh my god.
James: Oh~
J: Wow.
J: Oh, oh.
J: Falsetto, oh.
I think I'm gonna cry.
Kevin: Yeah Budapest Orchestra, let's go.
K: When he goes the high notes all the instruments go high as well, it's great.
James: Oh my god.
J: Yeah, you're right it does have aspects of...
J: like those olds. Hugo: Yeah, the old Christmas carols.
H: Part of it I think is the driving bass drum dum dum. J: With just that pedal tone-yeah.
Kevin: Oh there's a bass drum every two beats. There's a bass drum on top of the timpani.
Isaac: Ohh. K: Yeah.
Elizabeth: So I think more comforting than just like like a held straight note, you know.
E: Just that sound.
James: And again, we don't have a lyric video, so I have no clue what he's singing about, but it sounds really heartfelt.
J: Really heartfelt whatever it is.
Hugo: Oh, there's the choir.
Fiona: Oh, with that chorus there's just so much more depth to the sound and this song already has good level of depth with the timpani.
Peyton: Ooh, I like that. Okay, little sauce.
James: This reminds me of Narnia, it reminds me of the Narnia soundtrack, I don't know why.
Elizabeth: Oh, no I hear it. J: It's just a little it's it's epic. It's epic, it's great.
J: Just movie music really.
E: The choir and the like big hanging chimes. J: Yeah. E: That that was big in the Narnia soundtrack.
Fiona: This now could be like a princess movie. Lindsey: Yeah. F: Someone's being rescued.
F: I love that, that chime.
Isaac: It's gonna pick up. Kevin: I know, yeah, wait for that-
I: AH! YES! I was right! YEAH!
Peyton: Oh!
P: Ah!
Fiona: Oh, he's getting wiggly.
Lindsey: Yeah, his voice is really like...
L: round I don't know like what the right word is - because I don't want to say deep- full.
L: Full, there we go.
Kevin: Like the weird harmonic because the bell is not quite in tune but it's like basically in the pitch.
Isaac: That snare drum though.
James: Beautiful choir.
Elizabeth: Oh we eliminate your acoustic guitar in there.
Kevin: Why does this outro work. It's like it doesn't sound like an outro, I just want to keep on listening to it.
Peyton: I like the light snare.
James: It's so quiet.
J: It's so quiet.
Elizabeth: It's definitely more about atmosphere than it is about... J: Oh and they fade out. E: atmosphere and soundscape more than it's about melody.
J: I approve, okay, okay. Most of what I'm about to say is about his vocal technique. E: Take it away.
J: Impeccable like it was, it was so awesome.
J: First thing being that transit- that beautiful transition between you know belting in your chest voice and then
J: going up to falsetto. It was- it kept happening and not only was he able to facilitate that change
J: easily and and flexibly, is that a word?
J: With ease, I don't know. He was able to execute it so well,
J: but then his falsetto was so lush and beautiful as well. And then his tone, his timbre was beautiful and warm.
E: Yeah. J: And he, you know,
J: it was a very simple song not a lot crazy going on but he did start riffing and you know using melismas you know,
J: near the end. So that was nice because it shows that he can do that too. That's really important. Just overall it was
J: like 10 out of 10 and just the song itself. It was really cozy. It's so oddly refreshing
J: when simple music would just use dominant to tonic motion.
J: Maybe like a IV thrown in there, just simple dominant to tonic motion, it can be so effective.
J: You know, depending on the kind of texture you use the kind of instruments you use, it never gets old even though that's almost all we deal with,
J: you know tonic dominant.
E: Well yeah, I mean the reason that everybody likes the dominant to tonic function is because the, you know,
E: the traditional dominant chord that we have, it uses the seventh, the second, the fourth... J: And the fifth.
E: And yeah, the the fifth scale degree and between the seventh and the fourth scale degree is a tritone,
E: which is a really crunchy interval and it's an unstable interval and it wants to resolve,
E: so the seventh, which is the leading tone to the tonic, it wants to go up and the fourth wants to go down,
E: so that tritone in the dominant chord
E: is, it adds a lot of tension because of that unstable interval and it really
E: really makes your ear want it to resolve, which is why it is as popular as it is because it's a really really easy way
E: to build the tension and then release it
E: with the resolution. J: Yeah. E: But I mean, that's why it's effective. J: So effective.
Fiona: Dude, having that, the bum, bum bum, in the timpani at the beginning that just like really set the mood overall
F: I mean you think of Little Drummer Boy,
F: I don't know that's just like really set it up as like more orchestral. That was really cool,
F: and that made me feel Christmas vibes too.
Lindsey: Yeah, this piece of music was definitely like a
L: production effort because there were a lot of different parts to it and they all went together like
L: perfectly and you could tie
L: I mean the orchestra and the choir and all the different instruments that they had in there and the piano sounded great
L: and then the voice. There was just a lot. F: But a lot of intermingling. L: But it all blended together very, very well.
L: Yeah, you could tell that there was just a lot that went into that. F: Yeah.
Peyton: I think a lot of the progression stuff like it's very light. It's sort of like...
Charlotte: Like snow. P: Yeah, like reminiscent of like sleigh bells, you know,
P: so it kind of gives you that winter vibe, because like any time you hear like
P: there's only one thing in your mind- you know. It moves kind of like, I don't know,
C: Slowly? P: Yeah.
Kevin: It's just a very well-conceived track.
K: With a lot of heart put into it, a lot of great production and mixing and great instrumentations,
K: I just love the percussion section how it utilizes all of the the clangs and bells and
K: glockenspiels or I don't even know if that- there's probably there's a glockenspiel in there at some point
K: but then you also have like the bass drum and the timpani and you hear the hi-hat and the snare
K: and it's all so well integrated but it still manages to sound so sparse
K: and again, then the piano sound is is one that I highly approve of.
Isaac: 6/8 K: I would call it a 6/8 adagio. It doesn't sound- it wouldn't be a 3/4. I: It's too fast.
I: Yeah hearing like songs go in 6/8 it's very,
I: different compared to the traditional 4/4 so it's likely they have a lot to work with in with a 6/8 meter.
I: Yeah, his voice is just like man. In those situations where you don't really have much to work with,
I: it's like you use build up and then you climax and then you just kind of expect it to be a modulation
I: but because it's so well
I: crafted in each one of the corners that they're going for it's like unexpected but expected so you have both,
I: you have both. K: Like you expect it, but you're satisfied when it happens. I: Yes, that's that's yeah, that's correct.
I: That's exactly what I was gonna say.
Umu: Hello everyone. I'm Umu and I'm the channel runner of ReacttotheK.
U: I really hope you enjoyed watching this video. If you're curious about the videos that will be reacting to in the future,
U: I put a link to a doc with our release schedule in the description.
U: Last but not least, if you'd like to support our channel,
U: you can help us out by pledging any amount you would like on our Pateron.
U: On Patreon, you can get access to full unedited pair reaction playlists reactions, to Japanese releases, and much more.
U: And of course a huge shout out, and thank you to our superstar patrons. Thank you so much for your support. Bye!