Umu: Hello everyone, what is up?
Welcome to our reaction to Tempest's debut-
...debut song, what did you just do?
Kevin: You-
K: The intention was for me to do things while you keep talking...
U: Okay yeah. K: The intention was for me to do things while you keep talking...
K: Oh no, it's been a while. U: I wanted to like match your energy.
U: But yeah, it's been a little while since we've reacted together,
since we've been in front of the camera together,
so there- we're gonna be some awkward stumbling until we get into the listening,
but please stick around till the very very end
because we have got some pretty GOOD NEWS!
. . .
K: Emma, no, no!
K: Nooo, I can't...
U: No take backs.
Because we are reacting to the 7 members of Tempest coming together
to create "It's Me!" and they complete...
Prompter Umu: It's we!
K: No, "It's WE" is what they create when they gather together,
"It's ME" is...
the seven members separate.
U: Ooooh.
K: Oh, so it's called both,
K: "TEMPEST's debut album 'It's ME, It's We'." U: Yeah, 'It's ME, It's We'.
K: Boldly move forward to open a new world of K-POP with infinite possibilities and potential.
U: Yeah, we wanna thank whoever wrote the description of the music video
because this information is always super helpful
when a group is introduced and we are checking out their music video and stuff.
So this album contains a variety of genres,
containing not only intensity but also refreshing charms...
K: My favorite genre is intensity.
U: So it is worth keeping not only the title song but also all the tracks.
Okay, the song 'Bad News' paradoxically contains Tempest's ambition and commitment to conquer K-pop.
Okay.
Alright, so we're about to listen to a song that's intense in performance
and also shows charming chemistry and enthusiasm.
K: Chemistry, I like that.
U: I'm ready to be given some energy please.
K: This song will be the storm.
U: Just A storm or THE storm?
K: THE storm, cuz tempest means storm.
3 2 1 Bad News Bears!
Intensity? It's more funky, what a cool...
it's very cool.
*Umu mimicking bass*
U: Easy to catch on.
U: Okay, I love how that motif develops. K: Are they playing chess with canteens?
U: Eyyy.
K: The music video fits the music completely, I like it.
U: Nice~
K: Oh, natural minor. Aeolian, yeah, aeolian scale. U: That's almost rare to hear.
K: Oh, it's not a note, I like that.
U: Eyy!
U: Nice.
K: The instrumentals blossom very nicely.
The pentatonic.
K: "Throw your dice" U: I love how-
U: -composers choose when the voices are in unison with the instrumental part.
U: Eyy
U: And there it comes back.
K: Lol.
U: Oh, there's a little horn line!
K: Oh.
U: We moved into phrygian.
K: They almost form a perfect fifth, the rapping and the bass.
U: And they even added in some pitched percussion there. K: Ooh, nice, mhm.
K: Nice bass.
That's so low, I love it.
Ah, I love that.
U: In the pre?
K: Yeah, the scream is not a note, and I love that.
U: Yeah.
K: Uh, 9th?
U: Is this a new section?
K: Yes, I think this is the bridge.
K: Oh, major! U: No, we had that before.
K: No I don't think so. We'll go back, but...
oh no, it's just, it's a variation.
U: Nice vocal layers.
K: AAAAAAAAH!
U: They literally took us to another whole new world.
K: When I heard that chord I did not think it would go to C,
so it's like a series of surprises.
U: Wooo!
K: Wowww.
I wish the E♭ would have resolved to E,
there was an opportunity there for some part writing.
Yeah okay, I wonder if I've heard this section in the first verse.
U: So many different exclamations in the background, like-
K: Nice, I like that this section returns.
It makes the song satisfying and it's a welcome return.
I wish they did more syllables than just "da"
U: Nice.
K: I like the little shake.
It was compact.
It was just as long as it needs to be.
U: And it was a recognizable sound sprinkled in with a few other aspects
because nowadays a lot of groups, both boy and girl groups,
are going for dark phrygian, which we featured during the rap verse,
and like "noise music" where producers prioritize rhythms and beats and hip-hop and industrial sounds, right?
And so this is coming out at a time where it's going against the trends
but it is featuring the boy group sound that we have heard so many times in the past,
like the melody being 7-7-1 and we got a little bit of horn line,
we've got some synths, we've got some *mimics*, like exclamations going around in the back,
but we've got the harmonic change in the bridge, we've got that phrygian in the second verse, right?
U: Was that-? K: I think so, yeah.
U: And then we've got the glitching as we went back to the final chorus,
so that was a nice mixture of a little bit of what's trending now
and a throwback to brighter, colorful, youthful, energetic kind of music.
K: Yeah, I think this song was-
There are two things I like about the song a lot, and its presentation.
The first one is, the very first thing we hear is voice bass,
and I really enjoy that cuz it's-
it sets the style as something we're familiar with
but the sound itself is a little bit intriguing, it's a little different.
And then, yeah, and then it lulls us into that comfort zone
but, while it's comfortable,
I think this song does a great job in not leaving much breathing room
as in I am just kind of with it the entire time,
there isn't- it doesn't- it feels very tight and compact,
there is no room for me to just kinda steer my attention away from it (U: Okay)
and I think I really enjoy that.
Even the bridge, where it gets super slow and a little R&B-ish,
I think that it was surprising and the chord changes were wild.
U: Did we go into the parallel major? We went into some different- or was it relative?
K: Oh, technically it is parallel major.
So, using this chord [Fmin7] they went here [C major] [t/n: No guarantee on chords]
Yeah, which made me want to, I was saying,
how at the end when they did this, they could have used this [E♭ or D♯]
and then went to, [A major] back into A like that, you know?
A little Prokofiev-Shostakovich-type, you know, the chromatic relations,
because yeah, the A minor was there, someone could have sung a counterline to do that,
but they kinda played it a little safe and then-
But with, minus the glitching, cuz they did like the glitching.
U: Right, so what you're saying about going back into A
is because we were in A minor, we were like his colors,
if you listen to the instrumental it reminds you of his outfit, right?
And then we went into A major,
which would be like more colorful, like my outfit, yeah?
K: Y- y- yeah?
C major.
U: C major? K: Yes.
U: So that isn't parallel major then.
K: Oh yeah, I mean relative, yes. (U: Relative.)
Woooo~
U: Um, what relative major means here, here's the definition.
This is what relative major means.
So we go to my color, and then we stick there (K: Mm)
and we have some R&B clashing chords, super colorful,
and then that's why we are needing a pivot note to get back to-
K: Yeah, it works by itself but yeah, it was,
it's kind of like a leading tone where it's screaming to get back to home in that sort of way,
and it didn't quite get that,
but the section itself was still very good so, you know...
U: Something that I wanted to point out was, I wanted to like applaude the producers for,
is at the very beginning we get that hook as you mentioned,
which could have easily, rhythmically and melodically, perfectly continued into the verse.
They could have just muted it and just kept it the exact same thing
and just kept it as an ostinato instead of just a pure hook,
but instead they took like the main notes from each...
the main notes from the melody and transitioned it into the synth.
I'd like to break down the difference,
like so if you could play the hook on the piano versus the instrumental for the first verse?
3 2 1!
Is that a hint at the bridge?
K: That's the bridge, no, yeah.
K: Oh I love how it's in unison.
It's like the bass and the melody say-
they basically communicate that we're moving from the exact same riff,
K: no that's very strong, yeah. U: Yeah, right? And then it changes a little bit.
U: See, it doesn't exactly do [the hook melody]
K: Yeah exactly, the syncopations are different, yeah.
U: 22", 3 2 1.
K: Oh I like the first time the voice and the bass separate,
there's a little bit of *plays lines*, there's a little bit of that.
U: Yes exactly, and then,
as it switches between members and we're introducing new members,
so do the, the funk guitar comes in and we just keep layering in instrumental,
and it's just a smart production. (K: Yeah)
Period.
K: I think one of the reasons the bridge is so powerful
is because the rest of the song is so diatonic,
meaning it just uses the scales, the notes of A minor.
I love in the chorus, there is the pentatonic, the *demonstrates*, yeah, little synths.
I'm touching all sorts of notes, but yeah, that sort of stuff, those are really cool,
but even- they add excitement,
but from a scale degree perspective they're still very safe notes,
so I like that they were able to do stuff with that.
U: And so last but not least,
please stick around everyone because we're about to feature Tempest on this channel.
Can't predict the exact date, we're actually filming this before meeting them.
MyMusicTaste, thank you,
U: everyone say "Thank you, MyMusicTaste," K: Thank you, MyMusicTaste!
U: they reached out to us saying
"Hey, we've got this really awesome new boy group debuting."
"Would you be interested in playing your Classical Question Game with them?"
Which is a game we have played before with a few other idols,
it's a mixture of a guessing game and an interview.
So hopefully it will be a lot of fun for the boys to play,
hopefully you will all enjoy it and we will be able to get to know Tempest better together.
Yeah, stick around, I'll tweet about it when we finally have the footage and we start editing
and when I do have a date that we will release it, but until then...
Stream "It's We Me; Me, It's We!"
K: It's Me, It's We.
Also go roll those dice!
I did like the dice rolling reference, it was very cool.
U: There was a dice rolling reference?
K: Yeah, they did every time "...roll the dice".
Yeah, every time, it's great.
And they were rolling dice in the music video too
but it was very fast, it was like blink and you miss it.
U: Well, we'll end this video, K: King of Tokyo.
U: The finale of this video, even though that was such awesome good news,
we're gonna end with a performance by Kevin.
This is 'Tempest' by...
K: Oh man...
K: What, how long, how much?
I can play.
Woow.
U: Who is that by?
K: Beethoven.
U: BEETHOVEN! Okay! [t/n: Piano Sonata No. 17 in D minor (3rd movement)]