Charlotte: Her voice is such an interesting color.
Peyton: Yeah.
WOW!!
Umu: Now you're reacting to the solo artist Gain, who is part of the girl group Brown Eyed Girls.
Jason: Today you'll be reacting to her b-side song, called 'Tinkerbell',
Collin: What? Jason: released in 2012 on her 'Talking About S-' album.
Umu: Gain is a really interesting figure in K-pop because she and her group mates like to tackle really taboo subjects,
like one of her songs, called, 'Fxxk U', being about domestic abuse. Peyton: Ooh.
'Tinkerbell' received a R-19+ because it was considered too sexy, and supposedly challenged moral boundaries.
The song is composed by Jeong Seok-won,
and he did a lot of IU's songs, too.
Kevin: And to call the song 'Tinkerbell', I mean, that's a direct subversion of expectation already.
Three, two, one, 'Tinkerbell'.
Because Tinkerbell is a symbol of innocence.
Oh my gosh! Isaac: Whoa, whoa, whoa.
Kevin: The forced
Isaac: Boop!
Kevin: cut of the guitar sound.
Jarod: Whoa! Collin: What the f*ck?! Jarod: That was cool. That was...
Colin: I was like, it's broken.
Lindsey: Whoa.
Fiona: This is the most electronic, acoustic guitar I've ever heard. Lindsey: This is so crazy.
Whoa!
Melissa: And her voice keeps the staccato of the guitar.
Wow!
Charlotte: Whoa! Peyton: Whoa, shi*t!
Peyton: Yeah!
Charlotte: Oh, the way this is working in the headphones is so insane, you need to listen to this with headphones or surround sound.
Kevin: I like the inhaling sounds. That's a really nice touch.
Charlotte: This is like, dark Tinkerbell
Peyton: Yeah.
Stephen: Ooh!
That's a cool sound, er, distortion with the guitar.
Kevin: Oh, my goodness!
Isaac: What?!
Kevin: Oh! Isaac: Oh, my goodness!
Jarod: Oh! Yeah, left, now they're... Collin: Whoa, whoa, whoa...
Collin: What?!
Collin: Holy sh*t!
Lindsey: What?
Fiona: What?
Charlotte: Her voice is such an interesting color. Peyton: Yeah.
Peyton: WOW!!!
Fiona: This is like if you're on a little roller coaster like the Tunnel of Love, and it takes you into different rooms and locations.
That's what this song is like, but you're like, on a little train. Lindsey: And then the thing's like, (demonstrating), but then the thing like, (demonstrating)
Fiona: Yeah. It's so robotic, in a way. Lindsey: Yeah.
Peyton: Wow. This is like...
Charlotte: What is happening? Peyton: trippy! I like it though!
Seiji: It's chaotic and hectic.
Partly confusing.
So, maybe that's the goal. Stephen: I mean, it sounds like love.
Seiji: Yeah. Stephen: Like, let's be real for a second, you know?
Peyton: Yeah!!
OHH, SH*T!!!
Collin: Was that a bass? Yeah!
(singing) Yeah!
Jarod: There's so many levels. Collin: They used every instrument created.
Piano.
What is that?
Fiona: This is really cool.
And I like this lyric video. She looks very emo.
Lindsey: It's like goth Tinkerbell.
Fiona: Yeah.
Melissa: I feels like this piece is like shoving you, like the rhythm is kind of like pushing you.
Like the silences almost slap you. It's very abrupt and jarring, but in a good way. I love it.
Hmm.
Kevin: That's it.
Isaac: Oh, my goodness. Kevin: By the end it becomes a surprise. Like,
after every iteration of the first part of the chorus, which register of her voice is she gonna sing in? You're like, not sure.
Jason: All right, so what did you guys think of that one overall, musically.
Jarod: There was like lots of different layers, because I'd be focusing on one thing,
but then you would comment on another, and by the time you think about it, it's gone, like
something else is happening, and I felt like every time like I opened my mouth,
is whenever something cool happened, so I'm like, do I want to talk? Collin: The instrumentation is insane. And the panning
is insane. Jarod: Yeah. Collin: Like, who who uses panning as a musical technique--like expressive? Cuz that was actually expressive.
Jarod: These people do, Collin.
Collin: Apparently, yeah, but sh*t. At the beginning, what was really interesting is what they did with the rhythm. Jarod: Right.
Collin: Well they...Dude, I thought it was broken.
But that's a really cool way of providing background and context for the song--just like building it up.
It's like oh, this is broken.
Oh, this is still kind of broken. Oh, this is not as broken. But then you get the layering
I mean, the layering literally starts at noise.
That's really good. Jarod: Yeah. Collin: That could not have been easy to do.
Jarod: No. Collin: Yeah. I've never heard anything like that.
Melissa: What? James: I'm amused.
Melissa: Are you amused? James: I'm amused. Melissa: I thought it was really cool. I love this.
James: I can tolerate it.
Melissa: Wow, hear the negative opinion first.
James: Oh, God, okay. Umu: Is it negative?
James: Uh...it's not negative, it's not quite... Melissa: Well, it's not negative, it's not positive, I just hate it.
No, I love it, okay. James: It's just kind of neutral.
No. Umu: Okay, go ahead. James: It was creative.
It was!
Again, talking about novelty factor, Melissa: Yeah. James: There were a lot of
interesting sounds in there.
Melissa: I'm all about those interesting sounds.
James: But they were kind of just there, Melissa: Yeah, man! James: for the kicks. There's nothing wrong with that, like that serves a purpose.
You know, that's that's useful. Melissa: I love it because it's very unique--like just the way that it's just very jarring.
It's like okay, cool pad and groove, and it's like, just kidding,
for couple measures, and then it's like,
okay, cool, groove, and like
you know that groove is gonna get interrupted, but the way it interrupts the groove is just so jarring that you're still like, oh!
I'm shook! James: Yeah, and it was really jarring. Melissa: Yeah, I love that. James: One of the things that I didn't really like about it
Melissa: Oh. James: was that. Melissa: That was my favorite part about it. James: The staccato was like,
forced, like , Melissa: Yeah!
James: I'm used to hearing a little bit of ring, but it was literally like
stereo silence. Literally just cut off and kind of chomped, and that kind of weirded me out a little bit. Melissa: Cuz you know there's
like cute staccatos that are like,
do-do-do-do, where it's supposed to be very light, and fluffy, and staccato, and then there's those staccatos that are like (pounding beat)?
You know? Like Stravinsky or something. James: Yeah, but then there are THOSE staccatos, Melissa: Yeah. James: which can only be made in a studio.
Melissa: Woop! Yeah!
James: Yeah. Melissa: That's the point, though.
Like, I feel like they're doing something with this genre that they can't do with other genres, you know,
cuz if it needs a computer to do it, then you should do it, because that is what makes this unique
James: Yeah Melissa: as an electronic music genre. James: Yeah.
Isaac: So psychotic! That moment where it's just like these random sound files,
I totally went along with it, and was just caught me by surprise, Kevin: Yeah. Issac: and was just...wow.
I never knew you can take different sound files and just like throw them in, and still make sense.
Kevin: Yeah. The individual moments feel so choppy,
but the whole song feels so interconnected. Isaac: Mm-hmm. And if you look at...you said this song was considered too sexy?
Isaac: It's not. Kevin: See, if you look at the lyrics, it's not that far from the lyrics of any other girl group,
but it's because of the panting, the breathing, the sexual connotation, and
even the style of music-- Isaac: Mm-hmm. Kevin: the really jittery, and just
sensual vibe. I really like how not only is this provocative,
it shows what the Korean music board is sensitive about. Isaac: Mm-hmm. Kevin: But it also is a very clever way to
jab at it. It's very clever, and I like how it's not as
overt as a lot of the Brown Eyed Girls that I've reacted to in the past.
Peyton: (whistling)
Peytin: Well, that f*cked me up in the best way.
They've really stretched the rhythmic boundaries. It was very risky. They almost felt like live, just because like no one ever like,
tries to go that far,
you know? Like, and so much of it was kind of really spacey over the top of the kind of
(finger snapping)
I mean, it was crazy. Crazy, but like, in the best way. It was really good.
Charlotte: Yeah, and she also has like a really interesting color to her voice. It's not really nasally, but it's kind of like,
wispy? Peyton: Wispy, yeah.
Charlotte: Fairy like? I mean, she's Tinkerbell, but like...
Peyton: (making breathy sounds) Charlotte: Yeah!
But I liked it.
Stephen: At one point, I think maybe like one minute and thirty seconds or like the two minute mark--I forget--but somewhere in there, like after the first chorus, I think,
it's switching a lot, and then it's panning. Like, usually at least as a drummer, if I don't notice the rhythm section or like the
beat, that's a good thing, because that means they're probably playing in time and making it feel good. I noticed something there,
that's why I kind of like perked up.
So I was like, oh, whoa! Like, something just jerked me, you know. Sieji: Yeah. And it's because you're not necessarily hearing one,
right? So, I mean all of us, you know,
instinctively thinking grouping of four or groupings of three, and... Stephen: Just from the music that we grew up with.
Seiji: Right, right, so it's kind of ingrained. It's so syncopated, it's so pad,
it's so many rests, that you're not quite sure. And that's an effect. You know, that's a really strong musical effect.
So I think that's what this was, as well.
Stephen: It definitely did some things
I've never heard a song go for, which is really cool. Because when it's switching from different ensembles,
right, and like in a very harsh way, where you almost lose the beat, people probably can't dance to that, right?
But she's still doing it anyway to make an artistic point, and I respect that. I respect
someone where l feel like when I listen to song, she's not doing it for the sake of getting popular,
she's doing it for the sake of creating art that she believes in and supports, you know.
Hello everyone, I'm Umu, React to the K
channel creator, and I'd like to thank you for watching this video.
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