Aaron: That—that choice of like, using an accordion,
that was perfect! Because I was going say like she has such a unique voice.
And then like the accordion is also such a unique instrument. I think that it pairs really well together.
Elizabeth: YAS IU! we stan!!
Umu: Now you're reacting to the solo artist IU and one of her b-sides released on her 2015 'Chat-Shire' album.
Glasses is about struggling to understand people's emotions and motives when they are trying to cover up their true feelings under a lie.
IU sings that she doesn't want to always have to wear glasses in order to see what people are trying to cover up.
She says that she rather be tricked and deceived than put on glasses to see the person's flaws.
The song is written and composed by IU.
Aaron: Alright, they're coming off.
They're coming off right now!
Kevin: Takes off glasses—Three, two, one!
Henry: Spooky! Elizabeth: I love the organ, it's a good vibe.
Isaac: Some tambourine.
Some acoustic guitar!
Isaac: Ooooh!
Kevin: Oh, I like the 'ooooh', yeah.
Some nice open fifths.
Oh!
Stephen: Mhm
I like the guitar accompainment.
Kind of like that beach/surfer vibe.
Isaac: Okay some accordion! Kevin: Excellent!
Kevin: Going up to major...
Nick: Yeah Aaron: That—that choice of like, using an accordion,
that was perfect. Because I was gonna say like she has such a unique voice,
and then like the accordion is also such a unique instrument. I think that it pairs really well together.
Stephen: Mm Seiji: Mhm okay!
Seiji: That was cool.
Elizabeth: Ooh, yes! Is that a bari sax? Yass!
Daniel: It's a completely different character here now. (Fiona: Yeah)
Fiona: It's like, less playful. Daniel: Different—yeah, different instrumentation.
Fiona: More certain.
*Brianna singing along*
Brianna: We love the grand pause!
Kevin: Is one of the sections, like, taking off the glasses and one of the sections putting on the glasses?
Seiji: Do we get another chance to hear a change? No, but like in the song?
Oh it does? Okay, then keep this beat.
Aaron: I like that!
Because it like really distinctly separates—
Nick: You're so right with the accordion, it's gorgeous! Aaron: It's so good!
Kevin: Awe, there's that little A sharp/A natural clash
That one little chord.
Oohhh again! Oohhhh (Isaac: oh that's spicy) that's even more obvious that time.
Isaac: Wow.
Elizabeth: I like how it changes tempo. It's honestly like it's subtle enough that like it's not like
musical whiplash, but it's also like...
You really get kind of like...
surprised. I think it's cool!
Henry: Octaves, holy shit!
Henry: She has to sing up to a G.
Henry: Dang...alright...nice!
Nick: Based on what you said about the
the lyrics kind of being about wanting to see the real side of people,
I think it's interesting that she didn't use any of these really obvious
modifications, like electronically, to her voice, or any of the instruments in the background.
Because she really easily could have used like
an electronic just base underneath it (Aaron: That's true.)
or any of these percussion instruments could have been electronic.
But I think she chose to do them
all either acoustically, or well enough electronically that we couldn't tell.
Maybe that's a reflection of like, "This is the real me"
And this is an unedited #NoFilter version of IU.
James: Awe that was really interesting!
I think—I thought the sample sounds, I always call them sample sounds, but the
instrumental sounds she chose to use were very interesting.
(Umu: Accordion.) Yeah, like because they like when you hear accordion versus when you hear that
like really specific like electric like keyboard with the vibrato
sound, those two instruments belong in like their own genres: like accordions
like folk music, traditional; and then that keyboard sound is army with soul kind of stuff.
But she like...
combined both of them and put them into one song which was really interesting. I think that sort of made
the, the overall feel and style of the song really kind of unique.
Even just like the soundscape in general, it was all very like
low volume, kind of hard to hear what was going on,
but there was guitar like you mentioned (Brianna: Mhm), like low guitar kind of going, on a lot of like washy,
Wishy-washy, low sounds but it created this really cool vibe...
that I thought was really cool. And even her, like she did all of her own vocal harmonies, too.
And they also complement that style. I thought it was really really really really interesting.
Stephen: Cool!
Umu: Were you able to figure it out?
Seiji: So what do you have?
Stephen: What I originally thought was like dotted quarter note equals the new
tempo, like equals the new quarter
but even that for like the second tempo and then to get from the second tempo back to the faster tempo
It would be dotted eighth note, I think, equals the new quarter.
Technically it's close, but it's not actually the real tempo like she does it a little bit faster
The best I could do and this is where if it's not something like that then it might have been
maybe that's what she was going for but in the production room, they're like
It's too slow and I think it'd lose a lot of momentum so they make it a little bit faster
But the only other thing I can think of if you're on the second tempo and you get to the first tempo
If you it's like a five against four thing, so like technically then the the faster tempo
Would be if you have five quarter notes over four quarter notes that five
Quintuplet quarter note becomes the new quarter note for the new tempo and you get around the same ballpark
Kevin: Well, it was good. I really liked it.
Isaac: That was—it was interesting.
It was very...pleasant...docile...
and sweet. That's the impression I have from this because
the chords are just...nice and major-y.
Maybe there's some suspensions (Kevin: Major-y???)
Isaac: Maybe some...
suspension! (Kevin: well, there was a major section)
Suspensions that just creep this "Aaaah where is this going?" And then we land to—
Well, I think the suspensions always held before the slower section. So it's very nicely done, I like it.
Kevin: Cool accordion solo! It—it's like a mellow, groove type of song and
with a lot of acoustic instruments and they all sound pretty good and authentic so I can't complain.
It's just good, it's just a good experience.
Henry: I actually kind of didn't like focus in on any one thing in particular.
I kind of was just trying to absorb it. I think there was a good mix between like
things that were
organic and non-organic.
Um, I think that's one of the things that she balances pretty well.
I just appreciate that like, she was willing to—My guess is that started as two different ideas...
for songs that she fused into one idea.
I've totally done that before, a lot of people do that. Like a lot of bands that write songs together.
They're like, "Well, I've been working on this one idea. I can repurpose it in this way to make it sound like this."
So it's possible that that's how it was done.
Even—whether that is true or not, that's cool. It's cool to have a song that changes so drastically throughout it.
That's hard to pull off sometimes and not sound...
like you're trying too hard, and this did not. So, that's cool.
Elizabeth: I think that having this sort of accordion to kind of mark the changes was really smart.
(Henry: Mhm) Because if you try and just like steamroll into a different section,
I think it becomes really confusing for the listener.
But if you have a pause, your brain's llke, "Oh what's gonna happen next?"
And then you come in with a new idea, I think that works really well.
So, yeah! And I liked the instrumentation like with the organ, and the background and everything.
Yeah, she's always a very classy artist, I think.