Henry: Whoa- Cloud: WHOA
Umu: So now you're acting to the girl group Dreamcatcher
who are known for having nightmare-themed concepts
James: Night- ooo
Umu: For their 2019 Raid of Dream mini-album,
They are collaborating with the RPG
videogame King's Raid by depicting themes of the game like doubt,
confusion and twist in their music video the song itself conveys emotions
Like darkness loss breakdown and rage that you may feel while playing the King's Raid game.
The song is composed by LEEZ and Ollounder
Elizabeth: You ready for this?
Fiona: ok, three two one *click* Daniel: mmm
Daniel: It really fits the aesthetic, (F: Yeah) the music and like walking the castle
F: and it
Their reverb on it makes it sound like the piano's there.
D: Yeah, and they have like that beat that just dropped
Isaac: Wow seeping darkness
Kevin: Wow already up to iv. It's already a twist!
Isaac: and a change in timbre
James: Oh shit
J: Good unisons. not unisons- they were octaves, but they're in tune.
Henry: Oh, I liked that
Cloud: I liked it too, but I was more liking the aesthetic of a girl holding
a sword
Aaron: Yeah, that's synth orchestra
Nick: I feel like I should have expected that with the whole medieval thing that we would get like a nice Orchestra
But it's interesting because all the strings are
Synthesized or at least heavily autotuned
H: OH! A little Picardy third
Cl: on "fallen now"
H: Yeah, that's- interesting on that text?
Kev: wow it ends in iv.
The phrase continues because there's not really a cadence.
very cool
Elizabeth: Yeah, they have a very like cool vibe
I think like they can be like intense and the like climactic moments
but like in these sort of verse moments that like kind of what you're saying like it's reserved and like
It's just really cool. Owen: Yeah
Aaron: I Think the
Harmony, and melodic lines fit well together like this piano
Interlude stuff as we like get more about the story from the vocal line
Fiona: It sounded like the music did a rewind and like the plot rewinded too
(D: Ohhh) Like the dejavu trope was apparent in the music. (D: Mmm)
Cloud: Yeah, I felt like they added more instruments to the lead in that time
Kev: Ends on iv
K: ooooo
Nice dominant
James: The contrast is so good.
Ohhh
Melissa: whoa That's like Lord of the Rings. This is like everything
Henry: Oh oOOOOOh Cloud: Oh Whoa
Kev: Wait
They modulated a minor third up
And then they went back to the home key.
of course because of the relative major/minor relationship
Pretty inventive
Owen: There's so many secondary dominants in that last sequence, like it's
*sings* gettin here going here- going here
Owen: *ultra deep* Celloooo
It's not a bass, but it's a cello
Aron: *Sings ending* Nick: I think that's my favorite music video. You showed me
Umu: It was- yeah! how did you feel the music supported what's going on in this story?
Nick: Well, you definitely have kind of that like light side with the orchestral and then the dark side
it's like what evil demons that are gonna fight all the
Good guys I don't actually know- Aron: All they needed to do but throw in some screamo
Nick: I Think it would have been... Aron: It would've fit! Nick: Been good in this song
Nick: Which is kind of crazy if you hear the introduction to this song, I would never expect it but after hearing this
Especially in the bridge they could have used that in the bridge
Daniel: The intro or like the first at least like 30 seconds to a minute
Had that same like piano
Voice duo and so I was kind of expecting something a little bit more like melodically or harmonically or rhythmically complex
From the start because we've been listening to this kind of music.
Fiona: But I kind of liked that
Kpop has a lot of saturation with the themes and it's very generous with like all the fun ideas and stuff
I think it was okay to have just kind of an aesthetic layout of what was happening
Daniel: Yeah
There was this one part where Fiona mentioned that it sounded like choral music and in some ways it did but to me
because of the balance of the melodic lines and also the harmony it sounded really like homophonous and
and it sounded like there were a lot of parallel fits or like perfect fifths going on and
It fits with the theme in that you see like they're in a church or like some kind of Cathedral... They're-
Doing they're having all these like crazy
swords stuff
But it reminded me of the music that we studied in the church like Gregorian chants were like where a lot of perfect fifths were
kind of seen as holy and used like almost for everything
Kevin: in the first and second chorus, there was this Picardy third and it
To me. I was like, oh they're just singing da da da da da da and then the last time they go picardy
I'm like, huh? I wonder if there's any method behind this, you know this rather simplistic
thing and then in the final chorus it modulates up and then because we're now in
a-flat minor the pickety third is now a flat major which
Enables the song to go back to the home key
So the f major before was foreshadowing that moment the entire time, which is pretty solid
compositional
Technique I felt like the melodic lines in the verse. Were a little- they kind of just drifted around a bit
There wasn't as much direction like the harmonies know their the chords actually changed quite a bit
There was no solid sequence. That was too repetitive
but the melody the melodic line doesn't have that type of drive that I
Like in certain quieter sections like once the chorus hits like yes
I'm with this but during the verses it got a little lost for me
James: The contrast is perfect and they kept like capitalizing on that over and over again
Intimate voices, piano, that's it. And then
James: DUNDUNDUNDUNDUN
Just like the difference we've seen that like really lit rock section and then just like the really tone down
innocent sounding
like breathy high
Parts, I thought it was really really cool. And I just thought it was like a good song overall
Umu: So now you are reacting to a bside release from
The Raid of Dreams album called Silent Night
Fancier writes that Silent Night falls into the twist theme of King's Raid. The lyrics say a blade pointed at someone eventually returns
I don't want to see your blood and it expresses a hope to break free from the cycle of violence
The song is once again composed by LEEZ and Ollounder.
Kevin: well *speaks the Christmas carol* round yon virgin's mother and child. Let's listen to this!
Elizabeth: Whoa
Kind of feels like it's a triple meter, you know, like compound meter. One, two, three, one, two, three one two, three, but I assume
Yeah, and then it comes in, in 4/4
H: I Thought it was like descending triples de do du de do du but it's not Cl: it's not
H: It's kind of like syncopated Cl: yeah
Cl: you can say it's more of a duple feel H: Hey that's a
H: Yeah, that's a cool choice
Kev: This has like as an industrial vibe like the Iron Man 1 soundtrack
when Iron Man's walking with the explosion behind
Jame: I love that that keyboard like synth sound. Melissa: Yes. I love that
El: oh, that's a low voice. Holy crap. Owen: I know
O: and this is a girl group so El: OOOOOO wait
Daniel: Oh my god, this makes me like
Fiona: now it's like- Daniel: I wanna move my butt
I just wanna like Twerk it or something man this is a feel! Umu and Fiona: *dying of laughter*
J: Whoa Mel: I love the like-
J: Yeah, I just got chills Mel: it's like staccato
which is unusual J: whoa
Aron: yoooo so dope
Melissa: Her voice... J: it's low. Mel: Yeah
But like it's more than that it's like it's like cool it's got like swag, I don't know
H: I like that
Contrasted to each other with like the really low voice for the rapping and then right into head voice singing
El: Yeah, even like the vocal line in the pre-chorus here it's like syncopated it's not on the beat
Mel: That vocal countermelody
J: Who's Doing that high shit in the background Mel: Yeah the like
J: who's doing it? Mel: descant or whatever. You heard.
J: That's so good
Fiona: And it's back it's combining the twerk theme and the 88 theme!
D: yeah
Cl: It's like surprisingly quiet, you know like you drop and like... it's like going but it's like really like
Really really in there, you know
J: off beats
What's happening?
El: Ooo None of those piano chords were on a downbeat
Owen: no except for the very last moment. I think
Owen and Cl: *surprised yells*
Henry: Hello
this is like
It's not like- I'm just gonna listen for a second
*Claudia might cry this isn't a drill*
Nick: I don't know why Aron: this is such a transition like from
where we were this is like we're completely different water right now
Nick: feels like arpeggiated chords, there's something
Both medieval and like video game music about it
Owen: No keep going!!!
El: That's so strange. It ended there. I don't think the like actual subdivision is any faster
I just think the grouping of the notes makes it feel faster.
Owen: I s- do you think so?
I wonder how the last bit was related rhythmically to the to the
Previous bit was it just like separateness goes from where it was to immediately just like dada.
El: wait okay All right. Hold on 1 2 3 4
1 2 3 4
See the piano is like not on the downbeat. So they're like using this whole like post chorus section to confuse us
Owen: I think that's that's definitely speeding up
El: It's like Owen: I just don't know
El: I think It's just a completely different tempo, (O: yeah)
I think this is compound meter just in a completely different tempo
I don't know what the metric modulation to get there is and I'm not sure if it's like exact. (O: Yeah)
Owen: Who knows? (El: It's cool though.) Yeah
Daniel: AYyyy that was so good F: Nice ending!
F: I like that ending D: Sooo good F: Silent Night starts now!
D: Wut?
F: of the Silence
F: I liked how there were three intense
beat feels of the rhythm and
Fiona: *aggressive beat mimicking*
F: and the *even more beat mimicking*
D: Yeah, I thought so too because there's that metric irregularity which is like one two three one two three
one two- one, two, three, one, two, three, one two
and then there was like the establishing du du du that was on every like it's like a simple kind of
Simple as in like a duple meter
Organization and then at the end you pointed this out which was the metric acceleration and it just goes faster and faster
Right and that reminded me of do you remember recite this music theory? Should we be studied that with a Clipping video?
J: *mimicking counting that I could never do-*
and you're like OOOOO
Cl: That was stanky
H: This is nothing to do with the music but it kind of does.
there are different moments where I need different kinds of music
Yes, sometimes I want to hear
Flows fighting dreamers or go rather but it's yes the Naruto intro because I need the hype to get me to like
Really get through a tough spot and running right, but there's other times where I just need a nice driving beat
But also something sort of calming to remind me that I need to focus on my breathing and focus on my form
Those are equally as important and I think this one fits that ladder you need is like oh, you know what?
I need that driving beat, but this is making me like it's very in words
It's very very in words, and then there's that last bit where after you've rested for like two solid minutes
There's some hype at the end so we can go hard Cl: *mimicking hype*
J: the synth noises using the like vocal lick
Melismas like in the background. Like that's the way I wish more people would use like vocoders
sampling like intentionally like changing the human lights because you know
Sometimes you'll hear like vocoders over a voice or like MIDI sounds or whatnot, you know
Like oh that sounds cheesy sounds fake or whatever
But this was like it fit the style perfectly and the even before that like raves section happened
I was thinking like this is rave music
I just I thought it was really cool and they're all so talented you can tell because they
understand like each member's strengths and they showcase it like the lower voices have their moments higher voices have their moments some
Trifling ass hoe was doing crazy shirt in the background like wut I came
Yeah
Like it's like it's like crazy stuff. It was really good.
Umu: Right. Do you guys like Silent Night or Deja Vu better?
Aron: Deja vu because...
A: I Feel it was more cohesive as a song like all the sections
N: they stretch way further in my opinion
N: But but that shape it's cohesive A: god I'm so conflicted
N: it's just wide in terms of and the stuff that
A: yeah! Because we started out like that fantasy
Type sound with the piano and then but we kind of like went to like a stark contrast
of that like heavy metal type sound
N: sorry Silent Night is kind of like a
If you took a bunch of instruments from techno
Like euro type things and then you put them in a pop song and then you had singing and other stuff over it
That's Silent Night. The other one is just everything all together
A: Well, I was gonna say I think that the translations are a lot better in
Deja Vu
*Singing Code Geass OP*