*Clap*
*Weird Kevin noises*
Umu: Hi!
...
Kevin: Hi!
My name is Kevin and I'm a musician from pianism ... ehm ...
...who is a part of the series "Classical Musicians React"
on this channel.
U: Yes, that was pretty good.
...
U: Hi, I'm Umu, I do that series,
apologies it's on hiatus right now because
~"They ask you how you are and you just have to say that you're fine"~
~"when you're not really fine"~
U: but we are getting better
and we are reacting to ENHYPEN's first comeback:
'Drunk-Dazed'.
We both previewed this and I loved the melody.
K: I heard the first 10 seconds and I thought it was great.
U: So that's what we're doing today! Thanks for joining us!
Let's go, let's go!
K: Nice U: 3 2 ...
U: 'Drunken-Dazed'! *click*
K: Okay, ship. Ship!
U: Ship?
K: I don't know them, but I ship them.
U: Okay, the love triangle?
U: Or just the two sitting next to each other? K: Oh, is it a triangle?
U: There was three of them! Oh? K: Oh...
U: Birthday.
K: *Reading* "Something bloody birthday party?" U: Bloody birthday.
K: Ooh. This video is - oh yeah, that's right!
This shook me!
U: Hgn. Modal mixture so quickly
[t/n: modal mixture - borrowing chords from the parallel key (minor-major interplay)]
K: I like the way the bass moves,
I like the major and minor interplay,
I like the syncopation on the bass.
[t/n: syncopation - putting rhythmic emphasis on offbeats or in between beats]
U: The second it starts we're already at the party.
U: Four-on-the-floor, and the muffled bass. K: Oh yeah, now it's more consistent.
K: Uh, I like the *imitates distorted sound synths*
U: And the bass disappeared.
K: Female choir.
U: Du-du-du-du *imitating eighth notes rhythm*
K: Nice.
K: Oh, no way!
I'm addicted to that!
That chromatic -
U: UH! Ah, yes! K: Yes, that's really good.
U: Oh, these melodies?! K: Wow, they're doing it a fifth (interval) higher!
U: So freaking good!!! K: That was really good.
U: And this is the first time we get a higher pitched percussion in the track.
K: Nice.
U: Love the distortion! K: That's so good. And it's also syncopated.
U: The vocals feel part of the track,
because of the amount of distortion on them, (K: Yes)
and how muffled the instrumental is. I love it.
K: Oh, they hopped directly to the 3 that time, instead of 5-4-3. (U: Ah.)
[t/n: Scale degrees - notes in a scale are numbered through (1=tonic etc.)]
U: Are they the ones making the party bloody?
K: The introduction of the A♭ chord is super nice.
U: Mhm.
[t/n: The song is mostly in F minor, A♭ is the III chord]
K: The bloody birthday.
Ugh!
It's cranberry juice.
Ah, a little bit of the Thriller arms, nice.
And I like that, er...
Wow, they go the octave lower and I didn't hate it!
I actually liked it a lot!
The octave lower pitch shift is one of my least favorite things.
So probs to them for making it work.
Nice. I liked that visual effect.
U: Oh my god, this track! K: It's a really good bridge.
K: Nice, they essentially avoided, like, the 3,
so it sounded very hollow in that bridge.
[t/n: The third (or 3) gives a chord its minor or major quality]
U: Ugh, taking out the track.
Oh?
Hhe?
K: Is that The Shining?
I mean a little bit.
YEAH!
*starts singing in Japanese* - oh?
Okay, I'm glad the song didn't end...
with the slowdown version of the chorus.
UH! Outro. Outro!
And it's like minor 7th.
Lot's of minor seventh action.
*Kevin singing along*
It's still going.
*singing in Japanese*
Cryptic.
So there is a follow up.
The story will continue.
I like the cut at the end where like,
there isn't even a moment to -
there's not even like a little studio name at the end,
it just CUTS!
It's like: Okay, what's next!?
U: I am obsessed.
K: Yeah, it's a really good song.
I think my least favorite part is the outro, the ending,
just because when they sing the seventh, *demonstrates*
they sing like, it's almost like a major within a minor,
it didn't sound like a satisfying ending.
U: Well I think that's purposeful.
K: I guess it's purposeful, but it's...
yeah, I wasn't too hot on it, but the rest of the song is amazing!
U: What were your favorite aspects?
K: All of it, everything!
Production, composition, melody, harmony -
even the harmony, which didn't do stuff that's too crazy,
it - arguably the craziest part is the beginning,
where there's some major-minor interplay,
but I just like the way they changed up the chords,
they changed up the rhythms of the chords, (U: Yeah) the bridge is sick!
The bridge, also, is interesting cuz it doesn't really land on a 3,
it does 5 - 4 - 2 - 1 a lot, *demonstrates*,
a lot of that, and it doesn't land on a 3,
it doesn't really cadence, it doesn't tell us if it's major or minor,
and it works really really well.
The bridge has the lack of resolution that I love,
but then the chorus comes back,
and then there was that weird waltz in the middle,
which is probably not in the audio track,
and then the outro happens again and
the bridge already gave me that feeling of unsatisfactory-ness.
U: So then when you got it again in the outro, you're like... K: Yeah, exactly.
K: It's cool, it's different, I like that each section feels different.
I also like that they didn't just totally
drop the song, prematurely, just so that, you know,
you wanna listen to it again?
U: Wait, what do you mean?
K: Like there are a lot of songs that feel to short, you know,
they stop at the bridge or they stop at
where the waltz would come in in this song (U: Right)
and just so that it feels unfulfilled on purpose,
so you want to listen to it again,
I like that the song didn't do that
and it gave us a satisfying final chorus.
U: I would like to go through a second time so I can say my comments,
would you like to join me?
K: Sure, of course. Room: LIGHTS OFF!
K: YEAH!
K: Oh, we're gonna do audio version? U: Let's go. Yes. Be my guest?
K: Sure! 3 a 2 a 1 - 'Drunk-Dazed'! *Click*
U: *singing 4-3 suspension* major! ... minor ... K: Uh yeah, the quality is different, I like that.
U: major!
*Kevin singing along*
U: I just love how every - K: Oh, ♭6 - 4 - 3
U: I just love how everything blends together.
K: Mhm, it really comes together.
U: And it sounds like someone is partying in the other room,
that's the kind of... (On-screen text: Meanwhile, in the other room...)
K: Yeah. (On-screen text: Meanwhile, in the other room...)
U: ...filters that they have on. (On-screen text: Meanwhile, in the other room...)
(On-screen text: Meanwhile, in the other room...)
K: *Imitates synth*, that's really great.
U: And this entire time the only percussion we've had
is just that muted bass... (K: Yes.)
K: Music - muted house beat?
U: Yeah.
Okay.
So this is, *sings melody*,
I think this is where the brilliance of the melody writing really...
U: shows- shines clear, yeah no, K: You think that's where it starts?
U: because, I mean no, the whole thing entirely, (K: Okay)
but this is what originally caught my eye
when I was previewing the song -
- ear. My ear.
How smartly they chose when to write, and like,
include the leading tones and include smaller intervals versus leaps,
and I think it flows so nicely.
K: The first note of this song in the melody is a ♭6 (minor 6),
which is crazy, ♭6 - 4 - 3!
U: I thought that's happened before, in a lot of pop.
K: It feels new here.
U: Okay. Possibly because of the instrumental or...? K: It feels like it's the first time I've ever heard it.
U: Ooh. K: Yeah, it's just done so well
K: that the moment I listen to it it sounds fresh.
U: 46 (seconds in), 3, 2, 1 !
*Umu following bass notes*
Hah, I love how the -
it sounds like a distorted guitar
and then it goes into like a synth-esque line that goes:
*sings line*
K: Yeah, so the cool thing is, that bass line, *demonstrates*
is actually a variation on the very first melody, which is:
*sings first melody*
except instead of going on the 3 it goes to the 1.
U: That's the blood seeping into the song.
...
K: Cool!
U: 54 (seconds in), 3 2 1!
K: Yeah, that's so cool.
K: So this is on the beat.
1 and 2...
and then with the syncopation in the end.
But then when they go up the fifth -
it's completely syncopated.
Which is what makes it so catchy.
U: Mm, and especially I like the fact that
*vocalizes*, I'm pretty sure it's just an open octave (K: Yes)
and then we go "Wow wow wow",
there is like a lower fifth (K: Fifth.) is it a lower fifth? (K: Yeah) Okay.
K: It fills it up. (U: Yeah.)
U: Mm.
K: Mm~ I like that.
*Umu imitates rhythms*
K: Oh, he just skips it.
U: Ogh!
K: Yeah, the second verse has just completely different melody,
with the same rhythm, though. (U: Yeah.)
K: I like the female choir. (U: Yeah)
U: Oh, it doesn't - okay.
U: Yeah, and they know when to take the instrumental out. K: Even has a bit of reggaeton.
U: Mm. *Kevin follows rhythm*
U: There might still be some harmony with that *high note*
K: The lower octave is so good, it's the only time it appears and I love it!
U: Yeah!
U: *vocalizing* (K: Oh!), something like that.
K: But they also, yeah, they sing a 5 (scale degree),
*singing melody*
K: There is someone going *Umu and Kevon harmonizing*
K: Yeah, so the synth is going:
*F* (tonic) [t/n: Wow that's a high note for Kevin to hit]
and the synth is a synth that warps their voice,
but at the same time you can hear one of the members going: *C*
U: Yeah, and then: *lower F*, there is an octave below that *high F*.
K: Yes, yeah, but the cool thing is the, yeah,
the middle note, the *C* is actually the same note
when they do "Down down down!" (U: Okay), so it...
it's a complete picture!
K: Yeah.
U: Yeah, this is wild.
K: Explosion of synth.
It's very distorted.
U: How do they create that sound?!
K: Gotta listen to more experimental music, this is, this is... U: I do!
U: I've heard it a lot in like K-indie/rock
K: Oh really? Yeah yeah yeah.
Shoegaze-y almost.
K: but...
only in the sound quality.
[t/n: Shoegaze - subgenre of indie / alternative rock]
U: So third time it comes back it's missing the beat, right? (K: Yes.)
U: And then:
K: Yeah, and we skipped the waltz, which...
not my favorite section in the music video.
K: *Imitates sample* There was that one trap hi-hat.
It doesn't, it never appears again.
U: It's almost like a shaker where you would expect a hi-hat.
K: Oh yeah, this is the part where...
U: I enjoy the outro. K: It's weird.
K: It's weird.
I like it from a theory perspective.
U: Mhm, 'cause it does add - sorry -
it adds a tiny bit of darkness,
Room: Lights on!
U: just listening to it without the music video,
they really do milk the chorus melody
because it's literally just repeat and then repeat.
K: What do you think about that in terms of,
do you think the song will get old?
U: They knew that they wrote a really good melody.
K: Think about - yeah. Okay. U: First listen I am not complaining.
U: And I think I'm gonna re-listen and love it,
because every single time you are at a section that isn't the chorus,
you're looking forward to the chorus.
But I don't know, maybe like 25th listen in?
K: Mm, I - U: I don't know, it will either really grow on me or kind of become stale,
U: I don't know. K: I agree with your instinct, I don't think this will get old.
I think they really really created something magical here.
U: But the music video was so awesome.
It combines a lot of elements of what I do enjoy in K-pop MVs,
like little story, (K: Also blood) and the terror, blood...
you know, 'Married to the Music' mixed with TXT's 'Can't you see me?'
K: Yeah no, I was gonna,
I was screaming 'Married to the Music' in my head at the beginning.
U: No, yeah, that music video combines a lot of
haunting but exciting but mysterious and bloody elements
that make me wanna go back in and re-watch for...
K: SCIENCE!
U: Eh, for science.
But yeah, let us know what you guys think of this song
and what your favorite song is off the album.
Thank you so much for watching!
Kevin: Thank you!
Both: Bye!