Aaron: Yeah! Fiona: Whoa!!
Aaron: Wait, that means we want to listen to it again. Fiona: No, it's not over. Aaron: No, I mean because I really liked that. Fiona: Let me enjoy this.
So now you're reacting to the artist Beenzino, and the song is called
and
this song also features
an R&B artist named Suran,
and this is his song called 'Imagine Time', and it's from his third studio album called '12' released in 2016. In the song,
Beenzino talks about his childhood and how it ended so quickly.
Stephen: Ohh. He didn't have time to do anything
he wanted. He tried to chase time, but he was too tired to follow.
He wants to catch time and murder it, so he can stop and rest, but time keeps passing, and we keep fading away.
Aaron: That's relatable. Fiona: Three, two, one. If you murder time, then you will have no time.
Aaron: Birds.
(imitating birds)
Elizabeth: What's the piano doing In the background?
Seiji: (Robert) Glasper
Seiji: That keyboard background?
Stephen: That's a really cool beginning, with what the piano's doing. Seiji: Yeah, definitely Glasper Stephen: Yeah!
Seiji: No doubt.
Elizabeth: It some like...
It's like a seven. Like a seven note pattern.
It's just like a flourish.
Stephen: Also kind of cool how the ambient sounds in the beginning
set up the time for the song. That's a really cool effect. like, it's just bleeding in.
Aaron: It's like an interesting piano, ostinato-type thing, but it's like, Fiona: It's cool.
Aaron: flourishy. Fiona: It represents change, and hope, and uncertainty. Aaron: It reminds me of fall.
Fiona: Yeah.
Kevin: The rhythm starts to groove more. Isaac: If this soundtrack stops, this is gonna be a very good song.
Elizabeth: Ooh, we have like a different clock coming in that's actually in tempo with the singer,
but we still have the second clock that's in a completely different meter, so they're layering more than one ticking sound.
Fiona: It's funny, cuz the clock ticking, it's like one instrument, and Aaron: Yeah.
Fiona: it sounds like triplets, cuz it's not in tempo with the music. Aaron: What I was gonna say, sometimes it'll...
Oh, yeah. I sounds like triplets--da-da, da-da, da-da-da, da-da. Fiona: Sometimes it lines up.
But now it doesn't.
Seiji: Okay, it sounds very improvised . Stephen: Yeah.
Stephen: Ooh! Seiji: Oh!
Aaron: Yeah! Fiona: Whoa!!
Aaron: Wait, that means we wanna listen to it again. Fiona: No, it's not over.
Aaron: No, I mean like, because I really liked that. Fiona: Let me enjoy this!
Shhh!
James: Interesting.
James: What does this mean?
Hmm.
Hmmmm.
Jarod: That subtle bongo/congo thing.,
It's so cool.
Collin: It's like the water droplet effect.
Collin: you hear it?
Jarod: Dopler.
Stephen: Definitely reminds me of, like the trap beats in hop-hop, you know? Like that vibe. Seiji: Yeah.
Seiji: I like how....Sometimes when they do these bass notes, it's not in the same key,
which
is kind of annoying. Stephen: Yeah.
Seiji: But this is actually in the same key, so.
Kevin: I do like is very braggadocious delivery, to a theme that's more
deep.
Reminds me of Tyler the Creator, actually.
Very much.
Yeah! We'll talk. We'll talk.
James: This is the phattest f*cking mood I think I've ever heard in my life.
Henry: I feel like it's cool that he's sort of doing like a rapping and then also kind of like rap-talking thing.
But if he's gonna do that
I feel like
you need to do like 10%
more singing
instead of talking to make it work. Have you heard of Arnold Schoenberg?
Henry: Yes...yeah. Elizabeth: sprechstimme
Henry: Well, yeah, that's one...Well, okay, yeah, but like, have you heard
of
Anderson Paak? Elizabeth: No. Henry: Cuz he does that really well.
James: Was he just singing from the point of view of time?
Something's going on here.
Stephen: Also, it's really cool
when you hear electronically produced drum set sounds where like,
as opposed to playing an acoustic kit, where we work on the muscles in our fingers and our feet to draw as much sound out
as possible
from the drum kit that we're using and from the drums themselves.
Because of that, there's like,
a faster decay on an acoustic kit.
It's really cool to hear electronicly produced drum set sounds where it's a longer decay,
which I think also bleeds into and affects why sometimes the groove just feels so phat.
Kevin: There's a light-hearted quality to it even though there's clearly like a...
quite a bit of pain in this, and some real sincerity. I definitely like the tone.
Collin: Like, oh, I get it. Jarod: The clock is constant. Collin: The clock is ticking--the clock was the metronome in the beginning!
Jarod: Yeah, I was like,
it was really cool in the beginning how they didn't really put anything concisely on the downbeat other than the clock,
er, on beat one of the measure. But up until the beat drop, there really wasn't anything actually
physically happening on one, unless it was a continuation of the phrase leading off from the second, third, or fourth beats.
Like there was never a "bam!" It was always just the clock.
Isaac: Every time that he's not rapping,
it's very expensive, like you hear the response. It's like that female voice, like (singing), trailing off. So it's,
it's almost as if you're on a mountaintop and you're singing, and it's like, ah, everything's flying up in the air,
but then as soon as he raps, brings you back into that
closed space, and then you share this moment where he explains his life and then slowly
expands it out and brings it back in. And it's so, yeah, as you mentioned, it's very poetic, because yeah,
it's not just the inner monologue, cuz that'd just be a monologue, but there's this incorporation of landscape, and then also that
small, enclosed space that he's trying to go for, so you get to see two types of narratives.
Elizabeth: I think using the
clock sounds both as
in rhythm and
out of rhythm--so like, layering it--it just kept you on your toes,
I think, listening to it. And then every time he moved to a new section the texture would change somehow, so
you know, the first time it was mostly just percussiony
outside sounds--him sort of rapping or speak-singing, and then
we started having electronic wa-wa-wa, of like
background texture, and then we added an electronic bass note with it,
so he kind of varied up the
different textures between the sections. Yeah, the sort of like ambiguity between rap and
singing and speaking, like it was definitely somewhere in-between, which I think, I
liked it, and I think that
there's a lot you can do when you break down the divide between what is speech and what is song.
We think that there is a clear division, but there's not,
so
listening to something like this and asking, well, what
part of this is singing, what part of this is speaking kind of defeats the point of it being there.
So, I liked that ambiguity.
Umu: "You can stop now. You gotta go to the army anyway, then everything will stop, since I was born on top of your left wrist" James: Yeah, see, that...
Melissa: Ohh! James: I got it! Okay, see...
Melissa: Wait, I love this song. Did you add it to my play list? Umu: Yes!
Melissa: Oh, my God, it's just like, it's so
disjointed, and I know that's because it's like, oh, time is weird, because time is weird in this song.
And you know,
you hear the clocks ticking, and the clocks are so together with each other sort of, or at least they're regular, and then
everything else is just kind of like, where are we? Like, brah.
James: Yeah, okay, sorry.
It was like one of those things where words were
passing so quickly. Melissa: Yeah. James: I was just imagining seeing the lyrics--like you reading the lyrics, it must be like
paragraphs and paragraphs of stuff, because it was going by so fast.
And there were some points when
he was talking about how time fast goes and the
meter of his speaking sped up so fast that I couldn't even keep up with the words on the screen.
I was like.... It was so fast.
I feel like this is more of a trend with rapping than necessarily lyrics in a song.
There's so much more complexity and deepness in rap lyrics.
I don't listen to a lot of rap, but the rap that I have listened to, it's very like, it goes by fast,
it's really deep, but just not deep enough that it'll hit you and you're like, oh ,wow,
okay, my mind is blown, but then it's gone, and there's more lines, you know, coming at you.
I felt a lot of a lot of similar things with this, and I was reading lyrics as hard as I could, because
I was so captivated, and it was, I feel like he had something to say about it,
which I really appreciate, when artists have something to say, and they say it.
Hello everyone, I'm Umu, React to the K channel creator, and I'd like to thank you for watching this video.
I really hope you enjoyed or learned something from it.
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