Raffi: Wow, fast text
Kevin: Bars
[Rossini's Semiramide Overtune plays // Subtitles by youtube @anisian]
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You are now reacting to the SHINee member, Taemin
and what was his final pre-military enlistment solo release, called "Advice"
So, shoutout to Annie Ye-Jin Lee from Quora for the song summary I'm about to read,
I was like struggling to write a summary, and then she appeared...
With a halo around her Raffi: ahhhhhhh
With a summary of this song,
So she says, "Advice" is the title track for the third part of his album series,
Called, "Never Gonna Dance Again", "Never Gonna Dance Again" part I starts off with his title track called, "Criminal"
Which is about forbidden love or toxic love, which is then followed up by,
His title track "IDEA:(理想)", being about finding your new self,
And fighting against being defined by one concept,
And now this series has ended with "Advice"
"Advice" is about Taemin's career and the various things he was forced to face
throughout his 13 years of idol life, that started when he was a 14-year-old in the music industry
Owen: He came in at 14?! Poor kid...that's a lot
Umu: It's about how people have treated him unfairly, how drama hungry they all are,
But also the fact that despite all the hate he gets, they won't ever get under his skin,
Because he always escapes and comes back even stronger
This song is composed by Cutfather, Daniel Davidsen (PhD), Peter Wallevik (PhD),
Lucas Secon and Wayne Hector Jory: Wayne Hector (Will: Wayne Hector)
Jory: That's some baller name Will: Yeah, haha
Jory: 3, 2, 1
Sam: Oh, what the heck?
Kevin: It's not a Bach Invention (Stephanie: Nyeooo~) Oh- Owen: Going to the major ???? major
Owen: He has a scarecrow mask on
Stephanie: oH
Raffi: Wow, fast text
Kevin: Bars Owen: I like how it's growing,
Owen: I like how it started and got to this point
Sam: Oh wow Raffi: mmmmmm
Sam: It's very trap
Kevin: Holy sh- the falsetto, very nice
Sam: Was that sampled? Was that piano sampled from a classical piece?
Sam: Oh, I see (Umu: Inspired) Raffi: I think it's a sample... isn't it?
Kevin: Too much calmer song than the lyrics with suggest
But I like it, it's got attitude
Jory: Oh shit
Mhm
Stephanie: Oh, 1, 2, 3, 1, 2,
Sam: Mhm you hear those claps? (Raffi: Yeah) like every beat
You can tell that something big is coming
Kevin: I like that one half bar sort of syncopation,
It sounds like it changed time signature, but it didn't
Sam: Oooh~ I like that- do you- that breathy inflections (Raffi: Yeah) Oooh~
Raffi: Falling off the phrases (Sam: Yeah) Yeah
Kevin: I like how it just launches into the chorus Owen: Mhm
Owen: Well its a, like chord progression that can just kind of work
Then the- I mean it's the same chord progression for the chorus and the verses I mean
Jory: It's amazing, if you really hit that
Sam: Very high octave doubling
Raffi: It's a visually pleasing video (Sam: Yeah) it's very beautiful, artistic
Jory: Love that snare
Stephanie: Ooh haha~
Owen: That was cool, I liked how the bass grew out of the piano notes that he played,
And then came in with the A at the bottom
Henry: Aw that's coolier???? right there
Kevin: I like the countermelody hits the floor a lot, it's kind of cool
Jory: Bro~
Stephanie: Mhm
Kevin: Ooh there was a major sev- ooh those are some rich chords!
Will: Mhm Jory: That was sick
Will: Yeah, that's really good
Jory: Wait I actually really liked that Umu: I thought you might~ haha
Charlotte: I don't know but the whole thing at the beginning did that remind you of "Für Elise"? (Für Elise plays)
Henry: A little, I mean just because it's piano haha Umu: juSt beCauSe it'S piAnO- haha~
Charlotte: I'm gonna go for more like contour and like the content of it-
Henry: I wasn't thinking of that specifically- Charlotte: Not every time the piano plays,
Charlotte: Do I think, oh yes, "Für Elise", (Hn: No yeah-) someone plays "Happy Birthday" on piano-
Ch: I'm like ah yes, reminiscent of "Für Elise"- Umu: HAHAHA
Hn: I guess, it's because there's like broken arpeggios
Ch: Haha, are you choosing to ignore me-? Hn: I'm just no- yes I"m choosing to move on,
Hn: So I don't have to face the humiliation of what I've said against you haha
Ch: Except I'm still laboring the point Hn: It's a coping strategy, Yes haha
*beep sfx*
Hn: Yeah I guess because the broken arpeggios kind of does remind you of that aesthetic
I really like in like the second part of the piano they do like a-
It almost feels like a mixed meter, it still fits in 4,
But he accents an off beat
St: *counting* So that's like normal and then it becomes *counting*
And it goes back *snaps*
Hn: And it makes it feel like oh, did the meter switch for a second, but it's just a fun little syncopated accent
U: What about that do you like?
St: Hmm, It's just like a little like spice- kick, kick to the song you know?
Like this song, I really like the articulation and things like that *vocalizing*
Rhythmically, in the melody itself (Le: Yeah) but like the meter is kind of like,
The same throughout, but just that part, what we just did,
It's like a little... change
Rf: Yeah, I really enjoyed it, it amazed me how much of the tessitura is in falsetto,
And then I mean- obvi- like it's recorded in a studio, but I mean these people sing live,
So it's not like he couldn't do it, not only is it in falsetto,
But it's constantly descending down, like low enough into the chest voice,
And that's really hard to negotiate,
And I just thought that, that was really impressive,
And then in the moments like toward the end of each chorus,
They would double the octave above, which I mean I would assume is digital,
But impressive if that's not, But I think that was also really effective,
It just- there were a lot of layers and texture, especially with the voice,
Which I enjoy listening to
U: Yeah, I wanted to go back to like 1:27ish you guys were talking about,
Falling of the phrases, I'm sure it's more than just *vocalizing*,
There was something spoken too at that point (Rf: Oh yes, yeah) Can we go back there?
Rf: It releases, so *vocalizing* U: What's the difference between not releasing?
Rf: *vocalizing* (U: Ok, okay) so like there's a falloff
Sm: I think I notice it most in that line, because everything-
All of the sort of the note lengths, are both equal and,
They're on kind of a similar intoned pitch (Rf: Mhm)
Sm: So it was kind of like *vocalizing*
So it kind of, it draws your attention- your attention goes to the one that isn't on the same pitch as the others
Which is that last one that drops, and it kind of works as both the springboard,
For the next intone phrase, as well as ending that said phrase satisfyingly
So it kind of does 2 jobs, while also making us go, 'oH what's coming next?'
'What are you gonna do?' and that's just something that
Really drew my attention Rf: Sure, well I think you mentioned it too, the breathy tone?
Sm: Yeah Rf: That I think contributes to it too,
Rf: It could've been, *vocalizing* but it's *vocalizing*
Like, he's allowing more of an aspirate onset,
There's more breath coming through the folds, and it just creates an intensity
Because, I mean- in moments when we're out of breath, like we're gasping, you know?
Or, *breathes* it allows that to come more through the phrase, it's like oOh~
Ow: I like how it built a lot, I like- it started out so clean,
And like very solid, went into the verse, got the chorus, it's great,
I loved like this, expansive, iterative way of playing out the chord progression too,
Because it is a chord progression that when it goes to major, it does feel like it's building, and growing
When it got to the chorus, like the drums and the hit, and it was- it was great
...But I didn't like how it ended, I didn't like how it tailed off
In terms of the form and energy (Kv: The energy...) tailing down
Like that was what was kind of weird,
It- it didn't- it seemed like it hit a plateau and then stayed plateau,
But the plateau got a little bit less solid, because we heard it before on the same level
But I did like this a lot, this was a great part, (U: Mhm) cool
Kv: I also like this, but then they did babysynth and I like babysynth sometimes,
But its babysynth, immediately preceded by his- or somebody's really high *vocalizing*
Like super high falsetto, and I actually-
I think that's actually kind of a thing that I don't like in a lot of songs
Ow: Was it doubled with-? Kv: Yeah, when somebody- yeah
Kv: Goes, super high in the falsetto, in a way that,
To me, sounds a little unnatural for that- the song didn't need that much high notes
I dunno, like it wasn't like processed or edited in any weird way,
Actually sounded kind of natural, and I mean if he could hit it, that's really great
Wl: Oh, the kickdrum comes in there, yeah Jr: This is a vibe though
Jr & Wl: *drum noises*
Wl: Like, I kind of like that- like might be my favorite section-
Jr: It was actually really cool Wl: I dunno, I just really, I like that vibe
Wl: That little like chipmunky *vocalizing*
Like it sounds pretty sick, it's like a grooving line too
Jr: Also, that's such a cool hook, 'best take my own advice' mhm~
Ow: All the producing of it was beautiful,
I did like how clear it was, like it was very, very clear,
You could kin- you could hear all the sounds very nicely
Sm: You can also hear like this organ, kinda has like a countermelody in the top,
In like the upper register, kind of, like *vocalizing* it's kind of like octaves,
But it's almost like working in reverse,
It kind of- it adds layers in a way where they kind of work congruently,
Or they work like you know- in op-
Not congruently, conversely where they work in like opposite directions,
But they because of the balance of the instruments,
It still sounds like- it still sounds good, and it still sounds like a-
Like a well-mixed hole, it's really good~
That was really good!
Ow: And it's also like, whenever they had a blue in the background,
It felt like it fit with the song
Because, it's just that kind of like, open quality,
You can see all the way up to the sky, sort of thing,
In terms of sonic... palette
U: So what about the snare, the groove that you liked?
Jr: Oh I mean the groove was like okay-
U: So it was specifically the production of the sound itself-
Jr: No, it was like- I don't know if it was just because you told me how long he's been in the game,
But, I dunno I was watching and listening to that,
And it sounded like someone who knew exactly what they wanted to do (Wl: Yeah)
Jr: Like he was so comfortable, like even in the video,
And like listening to the way he sang, you can like,
I dunno, you can tell when somebody has control over what they're doing,
I think and... was he a writer on this? U: No, but he did-
Ok, that's really impressive then
U: The thing is like when you watch the behind the scenes thing, [T: I kept thinking about it, I feel like it'd be cool, if I go with a lazy vibe]
You hear him listening to the demo, and then you hear him talking [T: Even with the pronunciation]
About how he wants to phrase it in different ways, and layer in different ways, [T: I think it'd be okay to make it almost inaudible...]
So he still had like a lot of his hands in how he wanted it to carry out- [T: Kind of like I'm mumbling?, PD: Yes, I can hear you]
Jr: So it's even more impressive then, that he brought- [T: Does that make the English pronunciation sound ridiculous? PD: No, no, it's fine, T: Right? I think it adds a cooler vibe to it]
I think that level or artistry to it (Wl: Yeah) [T: I think "yi" for "the waves keep coming" sounds more natural now]
Because, like his delivery was so good, [T: The previous version had a crescendo, but the part for "keep coming" sounds a bit jumbled]
And... it's weird to say but, you can almost tell that it was his delivery that made it good,
And not just like somebody like in like ProTools adjusting his vocals later,
Like, I dunno, he was doing that
[BGM: Twice - "Last Waltz" // Subtitles by youtube @anisian]
Rf: Do you know the best way to judge someone's musical intellect? (U: No)
Rf: It's how long they extend the 'ach' of bACHHHHHH~