Katie: That's hard to do. To have a song that's tradi- like that's supposed to be in 4/4 and put it in 3/4, or vice versa.
K: And for it to work with the, like, rhyme scheme and the words, like, props to them.
Kevin: Is it the boots? It's time for "The Boots", It's time for "Das Boots". Isaac -over Kevin-: "Das Boot!"
K: It's "Das Boots", "Das Boots Waltz", I: ACAPELLA!
Umu: Okay. So, next we're reacting to a girl group called "Gugudan". We've reacted to them once before in this series. Peyton: (Gugudan)
U: This is actually a teaser for the song. This is what they released, (Hugo: Oh, we're gonna massage my hand.)
U: Before they dropped their official music video. They're actually known for acapella.
U: They've been practicing acapella since their debut, and they asked their company,
U: "Can we please use it as, like, a,
U: promotional effort for one of our songs", and their company agreed that they can sing an acapella arrangement of the official song.
James: Who takes the Bass part? Hugo: (Woaaahh!)
U: You'll see. J: Is there actually, like, a? Okay. H: Surprise, James, it's you.
H: One, Two... J: Three.
[music starts]
Jarod: This is cool because you have that, that, that pedal. Katie: (It feels like Vaughn Williams, a little bit.)
K: Nevermind, haha. I take it back.
J: -dancing and scatting- Chugh, one, Ch, Chu, Bump! K: Two! Tt.
Kevin: Is there a minor 4?
K: Ayyy, a minor 4!
Charlotte: See, if we were in orchestra; them poor french horns.
Peyton: Yeah. C: Bap Bap! Bap Bap!
C: For the whole song.
C: Sorry, Emma (umu). You know the pain.
Fiona: I love the "Boop Boop"! Lindsey: (WooOOHP!)
L: I like the little Pointillism in the background!
L: That, like, "bap Bap bap bap bap, bap Bap bap bap bap".
Hugo: The way their voices fit together so perfectly; it reminds me of a pipe organ.
Jarod: So, Katie, what characterizes a waltz?
Katie: Well, a waltz is usually in a 3/4 time signature,
K: Or sometimes 9/8. However, that is way more rare.
K: There is an emphasis on the second beat,
K: And it is dance-like, because a waltz is a dance that people used to dance to. And, usually, there's, the left hand is doing,
K: some sort, if it's played on piano, it's doing some sort of repetitive pattern, like
K: "Uhm Chuck Chuck, Uhm Chuck Chuck, Uhm Chuck Chuck," which is what's happening in this video.
Kevin: That's how you earn a Picardy Third! Yeah, everyone else, everyone else in the kpop world just sHOOK. Isaac: (Wow, my word)
K: I don't know, man, it makes me want to put on some boots and waltz!
I: No, I thought that was actually really nice, because the way they did it was like, they would have different ways of, I guess, singing, so
I: So you have, like, regular singing; like "Um dah dah,"
I: Or they can make it more flat sounding; so, like, closing your mouth a little bit, but just still blowing air out.
I: You can, like, if you listen to it, like, some of it, like, they would have like, "pah pah,"
I: Versus, like, "dah dah" like more vocal. Well, they're all vocal, but, K: (Hmmhmm, Hmmhmm.)
I: Just like, there's different ways to project the vocal lines. It's very interesting. I really like the texture.
K: I really like how they mixed it, because they-. Like, a lot of acapella, especially post "Pitch Perfect",
K: tend to sound like "Pitch Perfect".
K: And the way the acapella is recorded in "Pitch Perfect" isn't very good.
K: It's very synthetic, and it's, there's no softness, there's no nuance, but that!
K: Is just a nice little waltz. I: Good mixing.
Umu: Yeah! So, what do you think of that arrangement,
U: And do you think you can guess what type of style they go for in the next song, with that, based on that melody?
Katie: It makes me think 'flowery' because it's really light-hearted and happy and airy and the harmonies
K: are really like pretty. There's nothing like harsh. So.
Jarod: Yeah, and the aesthetic of how they dressed, and just kind of the character.
J: Yeah, it's gonna be very, it's gonna be a very fun album, I feel.
J: Like, I feel like it's not gonna be, like, all necessarily ballad-esque, but I think even the stuff that's more energetic,
J: It's gonna be on that cuter side of things, that more like upbeat, lighthearted.
J: Not like a super heavy BTS kind of rip your heart out of your chest and!
J: Step on it and say, "Feel the Shit, man!"
J: I don't know, I had a very much, like, "My Favorite Things" kind of vibe from this.
K: Oh! Yeah. Both: humming "My Favorite Things" from Sound of Music.
Lindsey: I mean,
L: I think it'll still be, like, a waltz style, is my guess. But I feel like, we're gonna pick up. Fiona: The waltz was freaky.
L: I feel like that was kind of, like, a, like, "look, this is kind of like, this is what we can do with our voices,"
L: But then in the actual song when it's not acapella, I think they're gonna speed it up. Maybe it'll still be waltz.
Hugo: That was fun! I think they'll go for jazz.
James: I think they'll go for... Heavy Metal Pop!
J: No. I don't know, something with a lot of synths on the deep end.
J: I don't know what kind of percussion they would use?
H: I think they'll use a drum track.
U: And you're basing your guesses off, like, the underlying?
James: -interrupts- It's just the individual, on the parts, themselves.
Charlotte: We got a blinged-out clutch
C: We got a freaking hat with a bling-bling around it.
Peyton: A freakin' hat with a bling-bling around it. Technical terms, by Charlotte Collins
C: and then we have this stiletto boot, which I need in my life,
C and you know! When a woman is wearing shoes, and they've got a point to them,
C: That she means business, so it's not gonna be no Waltz.
C: Watch: I'm totally wrong, and It's, like, hilarious, and I've been over here, like, arguing my point,
C: And then, it's just like, "Just kidding! It has nothing to do with these three props! Haha!"
C: I'm going with bling, and we're going full out, and we're going with a completely different vibe!
Umu: All right,
U: So, now we'll be reacting to the music video, and Gugudan has a kind of 'movie concept'?
U: Where they try out different concepts every single time they have a comeback.
U: So, now we're reacting to the music video and this song is composed by Eric Lip Balm and Mellow Design. (Lindsey: The Boots!)
U: Go Ahead. Fiona: Three, Two, One.
[Music Starts]
Kevin: Same key as the waltz.
(Isaac: "DoDooDoDooDo") K: That gets bonus points.
Jarod: Ooh! A little whistle. Ah aha.
Peyton: Oh, the intro is different in this. Charlotte: Did they fake me out with this intro?
C: Did she take it?
C: -jaw drops-
Hugo: Huh, Oh! Shit!
James: Alright, so first we have a -giggles-, we have a different time signature.
Jerod: Visually, it's pretty, like... -sexy smolder- Katie: The rhythm is different, too.
H: I way dig what they're doing with the videography with the hat. That's super cool.
H: But also the rhythm; like, the drum set, like the trash can drum set. Yeah.
Kevin: Ooh, minor.
Katie: That's hard to do!
K: To have a song, that's traditional, like, that's supposed to be in 4/4, and put it in 3/4, or vice versa.
K: And for it to work with the, like, rhyme scheme, and the, like, words? Like, props to them.
Kevin: Tropical!
Jerod: I like that little, "wooh", that little floaty (Katie: "Wooh!")
J: 'Cause It's, like, very rhythmic, but you have something that kind of, just, like, sails over.
Kevin: Love the syncopation.
Peyton: This almost sounds like a marching snare drum. Like, the electric sound they used.
Kevin: Yes! Isaac: Getting into it!
K: Walk that Bass!
Fiona: It's so different, but, like, they have the same kind of attitude.
F: Kinda fabulous, kinda serious. (Lindsey: Yeah!)
K: Totally different verse.
K: Previous one started major, this one doesn't.
L: Now that we're back in the verse, I'm getting more like a dance kind of feel.
L: And that almost reminds me more of the teaser than before did, but, like,
L: Still not a waltz.
Charlotte: So what I'm getting about this song, is that if you have the right pair of boots you can do anything.
(Isaac: -scatting-) Kevin: The only way to describe this chorus is, like, confident.
K: I don't know, there's something about this chorus where you're just like, "Yes, this is what it should sound like!"
K: With the whole tropical synth and stuff.
Lindsey: There's, like, sometimes a flat seven and sometimes a leading tone in here.
L: This is also very tonally ambiguous!
L: I'm getting - L: Oh, Ooh! Break it down, girls!
L: I'm breaking it down! With dancing.
Katie: -jaw drops-
Peyton: Uh, the friggin', Eighties Sax' playing? Charlotte: I know.
P: Everybody had a metal mouthpiece.
Isaac: aohh shoot. the bright synth! my word!
Kevin: It's short is sweet. I love it. It's not like a whole section.
Lindsey: I really like that whistle motif. Fiona: Oh, those boots look so good!
L: Yeah, I want some, but, like, I don't think I would pull that off.
Peyton: I think it takes a certain amount of, uh,
P: Skill,
P: Precision, and Courage,
P: to wear boots that come up to your knees.
Kevin: Why is this a great song? Why is this, like, so good?
K: Still not done. It's not there. Yep, yep.
K: Yes! Isaac: My word.
Jarod: I like that "speak up" but yet, ironically, there's no, like, music around it,
J: So it's kinda, like, understated. -whispers-
(Peyton: Woops, The Boots.) Charlotte: Aww, the Kitty! It was so cute.
Umu: What do you think about that song overall, musically?
Katie: I can definitely see the resemblances to the waltz, but they did a really good job,
K: completely changing the style, and,
K: like, not having you expect the other video, from the other.
K: I like the Chords underneath there was, like, a synth sound that was, like, making it sound really jazzy,
K: I don't know what, but I like that a lot
K: And I like the, like, breakdown section.
Jarod: Yeah, this was really cool because it's, like, yeah you have that kind of the keep
J: The previous acapella video,
J: And you have this, which is kinda like "UH!",
J: In your face. It's like that the prior video sets this up to be a bit more, like, to even be that much
J: More exciting from the get-go.
J: I think musically, like the way that the sounds of their voice pretty much still blends to the sound of the prior
J: So it's not like it is two completely different things
J: I feel like that's what carries it over. And I think what I really liked about this one, this music video is just like,
J: The use of, like, cool rhythms and stuff. I think that's what kind of really made this exciting and really fun.
(Hugo: I thought) James: Wait, which came first? The waltz came first or did this?
Umu: The waltz came first. H: Oh shit
U: I believe they composed this song first, but then they decided "you know what: we're gonna have,
U: a teaser, acapella teaster that sounds like this." J: Oh, okay.
H: -whisper- I thought it was awesome.
J: I think I enjoyed this a lot more just because,
J: well the production value is so high.
H: So you think, like, higher?
J: Yes. A lot more variation in timbre and in- what do you call it? (H: Orchestration?)
J: Frequencies! And orchestration as well.
J: You actually had bass sections, and you had stuff that was in that register. Well with the
Acapella version you only reached a certain point. This really did span the spectrum. (H: Frequency.)
Fiona: Boots. Lindsey: That was so great!
F: And I was like "oh, their boots are so good!" L: Well, it was called "The Boots".
F: I don't even think about the title of things.
L: I, like, didn't realize how much total ambiguity there was until we got to the chorus towards the end,
L: and I kept, because there were a lot of times, well,
L: I guess I kind of realized it was subconsciously, because I kept trying to hear, like, the leading tone in there, and I sometimes could,
L: But I sometimes heard flat seven. I was like, oh, maybe they're just, like, "sometimes doing it." F: I feel like it was mostly minor.
L: No, it definitely is mostly minor,
L: but it's because of their, like, use of the leading tone, and not
L: Not use of the leading tone that always just makes it sound more ambiguous, because that's what, like, pulls it to the tonic. So.
L: But yeah, no, that was awesome
L: I liked that, and I liked that one section where they just kind of, like, (F: Yeah)
L: There was a breakdown and they just danced U: The bridge.
L: Yeah, the bridge.
I: I think the whistle line was just so nice, you know,
I: It's like when you take something repetitive and you just put it, slap, at the bottom,
I: You really need something that complements both, one another,
I: if you have something that's "static",
I: Then you need something to be the active on top. They did that and it was great.
I: So, like, when you want to transition to the chorus it was, like,
I: Fine.
K: It's so chill, but it's also so hype; it's great.
I: There's a combination of both. Like, I wouldn't- I wouldn't mind if it was just full blast. Like go for that! (K: Exactly)
I: But this is how they wanted to do it, and it sounded great.
(I: and it was executed well.) K: Yeah, it's really cool when a song...
K: Uses a particular sound, just for, like, four notes; like that sax in the bridge!
K: That's it! And it just makes- And it feels like a whirl!
K: Like yeah, it's like that one movie character that just cameos.
K: And you're like, "well what was- what's he doing there?"
K: It's like building a big universe. I just- I've been watching too much Marvel, I'll shut up.
K: Um. Something about the whistle,
K: It's one that I noticed it. You know often times when you hear whistle sounds being recorded,
K: You hear the air blowing sound, but this whistle tone is so pure.
K: It's just the tone. (I: Yeah.)
K: Anyway, U: -whistles-
K: See, it's purer than that, even. They did something to it. They rounded it out, (I: -whistles-)
K: they equalized it, and it's just,
K: The result is something that sounds unreal. And the way it slides so accurately between the pitches.
K: I mean, there's obviously some auto tuning, but it's not, like, the obvious type.
K: It's just something to make it sound more pure. And that's what gives us songs. That silky,
K: Smoothness.
I: To add on to that: actually, like- I love the aspects of, like, when they climb up with the soprano. Like, the really high pitch sounds.
I: I don't know,
I: I just think of straws for some reason. But you have these rising motions,
I: But then there's that one where they did that, and then they put the whistle, and it's just, like,
I: Wow! That was some nice, nice buildup. And, also, it's just, like, it's again,
I: It's like you take something so repetitive and you just, like, "here's another angle". Like you take another motif to complement that. (K: Yeah.)
(I: Plus another! And it's like!) K: Then you give it a little walking bass! I: There you go
I: Like, if you have different combinations that adds to the nuance it breaks away from the whole repetitiveness. It's, like, the boringness of repetitiveness.
I: When it's repetitive, find something! You find new ways to listen or view it.
I: And that's what they did! K: Yes, indeed.
U: Hello everyone, welcome to our channel! If you're new: I'm the channel runner and producer of this series.
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