Henry: Oh, but they bring the bass forward to imply that it's coming back. Oh yes, that's good producing right there. That's what you want.
[Rossini's Semiramide]
Jordan: Today we begin our mini marathon of LOONA songs.
J: You've reacted to a four member subunit of LOONA but now we're going to dive into six of their solo songs.
Umu: Blockberry Creative has been building up anticipation for a 12 member girl group ever since October 2016
U: by releasing solo songs for every single member and creating an alternate universe where all the members live.
U: Each member has a genre of music, color and an animal assigned to them and some of them even have fruits assigned to them.
U: Yeah, so we are starting off this marathon with HeeJin, who was the first to debut in 2016 with her color being
U: bright pink and rabbits as her animal.
U: This song 'ViviD" is her debut song and was produced by G-High and MonoTree. This music video defines the start of LOONA and the
U: Loonaverse, get it like universe, the Loonaverse, by starting off in black and white then contrasting with bright splashes of colors
U: that will be a part of LOONA later.
Jordan: The music video and lyrics
J: elaborate how mundane her life is each day being identical to the last and how HeeJin wants change.
Lindsey: Jesus Christ. Davis: All right, yeah. L: So she's a bright, pink rabbit and they're coming into the Loonaverse.
Jeremy: Ooh, black and white.
Rachel: Ooh, I like their logo. J: Yeah, me too.
Charlotte: Bun bun! Peyton: There's a bunny.
Rachel: Okay. Jeremy: Okay.
Jarod: He loves that bari sax, Katie: Oh, yeah. J: just laying it down that kind of bluesy line.
Kevin: So,
K: very classical harmonies. I-IV-V, sometimes minor v and major V,
K: sometimes an applied chord to the V. But with the classical harmonies comes very jazzy chords that lay on top of them.
Charlotte: She's got a really interesting color to her voice. Peyton: Yeah.
Henry: How could your life be boring with that many bunnies.
Elizabeth: If you're allergic like I am.
H: I'm so sorry.
Charlotte: Oh my god yes to you. Peyton: Alright.
Lindsey: She's really good. I don't even know, this is just really like
L: kind of jazzy. Davis: Yeah, yeah. L: It's real catchy.
D: Yeah, I like the jazz-infusion. L: I also like things that she's doing with her voice,
L: like she's having it kind of go up higher and then coming down.
Jarod: You kind of get this sassy vibe because she's like singing but then like speaking ish. Katie: Yeah, true true true.
Henry: Just good keyboard playing,
H: I really like the patch that they have. Plus also that they're not afraid to use like extensions up in the right hand.
Charlotte: Just so like fresh sounding. Peyton: Yeah.
Jarod: It's cool like the chords that like they hit have like that cool half step dissonance
J: so it's like kind of crunchy but fits within the context.
Kevin: It's interesting how a minor v also brings tension because that's usually not
K: that type of chord. It's very solid- stable chord.
Lindsey: Like the way that she's saying it like she's really using her voice to like make music but not in the singing way,
L: the way she sings...
Davis: Something like with the breath I think like this is like
D: yeah, she's like less concerned about... L: And like the timbre. D: she's less concerned about the pitches, your brain kind of fills them in I think. L: Yeah.
Kevin: So the harmonies reaches V first and then the highlight
K: it for it previews one by half a beat,
K: so there's like almost a poly tonality that goes on for just half of beat, it's really cool.
Peyton: Ooh, they muffled the sound. That's pretty cool. Charlotte: That's a cool different color change.
Jeremy: The bridge. Rachel: I like that she uses, it's like sweeter, she's like uses her break. J: Yeah.
Henry: But they bring the bass forward to imply that it's coming back. Oh, yes, that's good producing right there. That's what you want.
Jarod: One thing we talked about in Renaissance counterpoint is like every time there's like leaps down
J: you always have to come back up so it's kind of interesting seeing you know in a
J: modern context you see like there'll be a line down but then it'll end by going up or if it goes up
J: it'll end by going down just because- Katie: That's interesting. J: just general
J: rules of musical motion I guess.
Lindsey: I think it's minor but it doesn't feel minor it just feels kind of like bluesy. Davis: Yeah, it's like it's just like a blues.
Jeremy: Well, definitely a lot of thought went into this. Rachel: Yeah.
J: Wait what, she's a... R: Now she's green.
J: but she has a... R: back to Cinderella. J: Yeah, what is that called- a broom.
R: That is called a broom. J: Thank you. R: You're welcome.
Charlotte: What a bop. She's like so cute and fresh and funky all in one. I am a fan.
Jarod: Maybe it was all just a dream because she's standing there with the broom. So she's having a vivid dream vivid dangerous.
Katie: That's me with atonal music. J: Nothing is real.
Elizabeth: It's an interesting blend of like the cutesy aesthetic and the like I'm a diva, look at me.
E: It doesn't really exist in American pop culture, I feel like. Henry: Yeah, not really.
E: Like you could be both at once. H: My favorite part about this so far
H: bunnies, very outright about how much I like the bunnies.
Jeremy: I mean, they're both really like upbeat
J: I guess, like the video is very like just colorful and bright and happy and like there was a lot going on just like
J: the song, so it kind of works and it was like it was visually pleasing.
Rachel: Yeah, I feel like with the song you could have done anything.
R: It was just very like not standard in a bad way, but like it was open for any type of video.
Isaac: That's really good. Dang!
I: Okay so first of all the structure, it starts in 4/4.
I: One, two, three, four and what I really like is when
I: you use this 4/4 and really just like change around like you can change this meter a little bit more
I: so like the way you emphasize motives it correlates with the amount of beats are in a in a meter.
I: There's a verse before the bridge and the chorus she does...
I: you know that, that's triplet with a quarter or eighth note.
I: So it's four and then it correlates to the amount of beats in a meter at the meter in the piece
I: and I thought was really cool. It was like a small tribute to like the the beats that carry this whole entire song.
I: It's a really heavy piece on like semitones so it's like a lot of like sliding. It's like da
I: so A sharp to B, and then a lot of the synthetic sounds. They also
I: replicate what HeeJin whenever she sings so there seems to be like a back and forth between the instrumentals versus the voice.
Lindsey: Yeah no, I mean it definitely was like minor base. It just didn't feel minor.
Davis: Yeah yeah, whatever you throw in as many like chromatic alterations to the scale like that like in particular to the bass line
D: I guess it makes it harder to really decipher the whether it's a major or minor
D: sonority, but it doesn't matter because like with the jazz infusion like that's it's more-
L: Kind of ambiguous, should be ambiguous. D: Yeah, yeah.
D: Yeah, yeah. Overall musically, I thought that
D: it wasn't the most
D: exciting thing like, you know there weren't like a lot of like crazy- L: Yeah, there's a lot of repetition.
D: Yeah yeah, there was like a lot of repetition,
D: there weren't like a lot of layers to it
D: and like there wasn't it wasn't super
D: chock-full of like a bunch of different sounds but like I appreciated the
D: consistency that it had that it had with the sounds that it shows like it did a good job.
L: Yeah, I like it incorporated like that, bari sax kind of thing like it came back every once in a while and it was kind of this cool
L: I thought because that a lot of times in like a pop song you have like a very
L: distinct like verse, chorus, bridge kind of situation but I feel like there was definitely a chorus in this that I kept coming back to
L: but I couldn't really tell when it was like verse versus like bridge.
D: Yeah, it was almost like one one huge long chorus with like a small break- L: Yeah D: every few like times through.
L: It was pretty good, like I enjoyed that a lot.
Elizabeth: I thought it was interesting how
E: really the focus of all of the different instruments in the back and her voice was definitely more on like the rhythmic hits and the
E: syncopation that was happening because her singing wasn't very
E: sustained it wasn't very melodic- Henry: Lot of words. E: it definitely was not like the traditional bel canto that you think of like
E: when when you think of a very good vocalist.
E: But it really added to the effects of it being like a groove- it grooved very well...
H: Yeah. E: because of the focus on the rhythmic aspect more than the melodic aspect. H: I wanna just.
Kevin: This is my favorite LOONA debut single solo. Yeah, it just never gets old.
K: The harmonies are really sharp and snappy and the production is really really crisp and I never noticed until
K: after Isaac pointed out like the triplets and stuff that this is a song that's in the jazz style that's in straight eighths.
K: Too often when we hear jazz style and kpop everybody feels the need to do swing because obviously once they're triplets
K: you know the jazz style becomes much more apparent
K: but I almost took that for granted because I've never noticed that this was actually a more
K: all the syncopations except for maybe the triplets operate around the four
K: subdivision instead of three subdivisions and I, after noticing that I like this song even more now, yay.
Umu: Hello everyone. I'm Umu and I'm the channel runner of ReacttotheK.
U: I really hope you enjoyed watching this video. If you're curious about the videos that will be reacting to in the future,
U: I put a link to a doc with our release schedule in the description.
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