Umu: Hi everyone, my name is Umu and I'm reacttothek's channel creator.
Jarod: Yo what's up everybody, it's Jarod from classical musicians react.
U: Welcome to Jarod's and my 'Left and Right' Seventeen reaction. woOO!
J: It's been a minute, but I think the last time that carats saw me react was perhaps to Clap?
U: I have seen the teasers for this and I have seen every single 'Left and Right' tiktok challenge video in existence.
From the teasers, it sounds like this song is kind of 'Snap Shoot' crossed with 'Just Do It.'
So I know this track is going to be a ton of fun
that'll bring a bunch of joy, happiness, and energy to carats, so...
Let's get it.
J: So Seventeen's 'Left and Right' official music video. We're hitting this in three, two, one.
A'ight.
Oh this has got like, it's got like 'Cupid Shuffle' vibes!
To the right to the right, to the left to the left.
Now kick, uh. [quoting the 'Cupid shuffle']
U: WHOOOO
OHhhh
oOHHHhh. Nice transition.
Triplet triplet.
Oh and now we're moving.
J: That's the Seventeen sound right there, like...
U: They build up so much energy in the pre-chorus and now we're just chillin'
I like the percussion sample in the left channel.
I can't figure out the loop.
Nice texture change!
It's like within the same family where we've heard before- oh now we have percussion back
OOOHHHH
Triplet triplet triplet!
Ooh
J: So you got that hemiola just rolling down that's some good line- that's some good writing right there.
U: duh duh duh duh [singing along]
The reason why we settle into this really chill energy right here because the pre-chorus has
subdivision of fast rhythms and really drawn-out chords in the background, while here it's almost empty with the percussion hits
And even the vocal part switches between longer melodies and just quicker rhythms
J: But you know, they've got piano textures, you've obviously got you know that
classic kit- kit drum sound, you got the brass- brass hits,
like you've got just like a real real funky texture going.
U: Oh no.
J: Bah. Oh OHHHHH! I love that I love that
U: Is he gonna, oh my god
J: Like, they trick you It's like- you're like- you're ready for a drop,
you're ready for a drop and then it's just like nah, not yet.
And then they give it to you
April Fool's on me, and it's July. Got me.
U: Oh a little outro.
Oh.
Fade out.
Oh no. S.COUUUUPS
What!? Since when did that guitar appear?
No. Don't end.
Sometimes not your do- wait do ba- but maybe do not your sometimes best.
Wait.
But do maybe
not, wait.
Do your best
maybe
Not do your- wait. Do your best but maybe not sometimes.
Oh my god that took me way too long to figure out.
That's- that's a wonderful quote. Don't feel pressured to do your best always because it can become too much sometimes.
So do your best when you can, and then take breaks when you can.
J: You know, you got yourself a funky music video.
Everybody's just nodding like this is the kind of song where you- it's just
you just- it's impossible not to groove.
Like that's the whole, it's the whole vibe. Like I think you know
musically, it's like it's the it's it's the opposite of Golden Child that we just watched to- that we just watched 'Lucid Dream' like-
If you go and check that reaction out and listen to that piece, you know, it's a very like
crazy all over the place kind of thing and you're like, 'oh where am I' but in this case
You know with Seventeen, you know 'Left and Right,'
this is very much, you know, that kind of shuffle dance music where it's like...
You know where you are and it's sick, because you just get to vibe, you know, nothing too crazy
that's gonna pull you out of the groove, like you are you are in the pocket, you are in the groove.
You know for all four minutes and ten seconds or- in this like you're just
You're there.
U: So first thoughts before going in for a quick second listen:
one, "left and right, left and right" that is a freaking ear worm because-
I wonder if someone's counted the amount of times they said that in this song,
because even the post- even like the end of "left and right" is "whip it, whip it, whip it" it's the same notes.
Second thing is, I love how they organized the rap and sung sections because
often in kpop song forms the rap appears in the second verse,
I'd say that's the most popular area of showing it up and then of course Seventeen's shown that
sometimes they have rap in the first verse, and then once in a while there's rap in the pre-chorus.
But this, having some of the hip-hop line do some sung parts with some song parts and then
like Seungkwan's fast triplet section that is almost rap like because of the
really enunciated lyrics and because of the faster rhythm, like I like how they mix things up in the verses.
And I like the descending bass transition before we get
the higher guitar in.
And then take out everything and everything back in.
Once again, descending lines as transition
This pre-chorus- wait we're listening to this one more time
I like- there's like a affected voice in the background [mimics said voice].
And then, sub divisions.
And then we go back to a more minimalistic texture.
So we have this synth that goes
[synth noises]
that bounces between both earbuds, or headphones.
So the brass is added in later.
There's some jazz organ, or whatever it's called.
I love this change here. 'Cause it's like not completely different texture change,
but it's like within, it's like a cousin of the synth sounds that we heard before,
and we're immediately back into what we had before in the first verse, but with new vocal part.
[singing along with the triplets]
Almost everything in the verses are like rap slash sung.
Yeah, and then we have a horn line in the second chorus.
[mimics something else form the song]
And then, outro.
You've got a really quiet guitar going insane.
Cool! Fun, fun, fun. [mimicking the guitar part]
Okay time to zoom Jarod.
J: Alright. Cool, cool, cool, cool. 'Left and Right' though.
U: Yeah, the tiktok challenge song of the summer.
It's all also- also all about the the synth sounds chose, the instrumentals chosen, right?
J: Yeah U: To help support this uplifting cooling song.
So like we've got a tiny bit of horn line (J: Mhm) in the background.
We've got that- it's a pretty good sounding tuba or like low brass synth that (J: Yeah, yeah, yeah.) sneaks in once in a while in a while.
We got the bass guitar.
We've got electric funky like da da da da da guitar.
And then all these synth sounds are so soft and ping-y and light.
J: Yeah, it's very uplifting like, you know the cupid shuffle?
U: No, I don't.
J: Oh my gosh. Yeah like so, this is like prime, like
middle school high school dance like
"to the left, to the left, to the right, to the right, now kick, now kick. Now walk it-"
It's like- it's it an actual like dance shuffle, to the left to the left to the right to the right.
So I was like, oh left and right this makes sense.
This was inspired by that.
U: Mhm J: And the lyrics are literally to the left to the left to the right to the right like
U: That's awesome. J: You know, I don't- I don't think it's a coincidence.
U: Connecting the dots. J: Let me put my tinfoil hat on real quick.
But yeah, no that was definitely the vibe and it was it was cool,
like it was a groove, it was groovy because you have like this sense of like a song that you know is a dance party song
so you add it to this dance party groove and then everybody's just having a dance party like it's awesome
I love it. I love it.
U: Right did you have- did you have a favorite moment of the track?
Or section- J: I wouldn't- I don't know if there was a favorite
I think there was- I think there was a really cool, fun little whimsical part where it was like
[mimicking Seungkwan's line] Like the classical triplet like descent,
I was like 'Ahhh, yes. This is... this is great. Like this was much needed.'
U: I almost wish- because you, did you hear that insane guitar solo as the track started fading out?
J: Yes. Yeah, and you know, it's like it's a shame like-
I just wanted that I wanted more of that. More (U: Yeahh) of that, more of that before it starts like fade away.
You know 'cause like- U: Almost like add it to the bridge as a dance break or something.
J: Oh, yeah, that'd be perfect like that would literally be perfect. That way you could just like, you know, like
you get your air guitar and just like jam it out, like you're like 'ohhhh', like that'd be sick.
It was a cool texture at the end though, so at least I'm grateful for that- for the taste that we had, so.
U: Yeah, are you- are you a fan of fade-outs, or you're not a fan, or you're like [gestures not caring]
J: I'm probably- it depends on how it's done. It depends on how it's done. (U: Mhm) Like for like dance stuff
I don't mind fade-outs because it, like let's say you put, because the context of the song when you're gonna listen to it and put it on.
You're gonna put it on a party, you'll be dancing, like if a dance song ends abruptly
Then you're like you're caught mid move and you're like, 'ah, darn,' like, you know, 'I had a little bit more jig left in me.'
But if it's like a fade-out, like you're easing your audience into like okay, like 'we're, we're chilling out' like, you know
'we're doing this' but like you get to slowly kind of bring your arms down
instead of being like you're like doing the coolest dan- and you're like 'aww it's gone'
U: But! (J: So) But if it has a dramatic ending, then you can have a dramatic ending too like,
Duh, duh, duh, duh, duh, and you're like do do do do do do bamm! Like you have that ending pose.
But then with the fade-out you're like [slowly brings hands down].
J: That's true. That's true. You know what, but I feel like with the more powerful,
there's some risk and reward though because you got to know the song, you gotta know how that's coming.
You know what I'm saying? Like you get one moment to have your epic finisher.
You know? So it's probably like depends on what you need, you know.
Yeah, but that's a very valid point. 'Cause sometimes you want that like,
you know, like, superhero ending.
U: Yeah, the reason why I ask is because some of the other actors on this channel have some really extreme feelings
J: yeah I wouldn't say I have extreme feelings about it. U: Very strong feelings about it.
J: As long as just not done like all the time, you know, it's like if, every now and then you know it's like
that like balance and it has this has to be done right? You know?
U: Right, I feel like- I think this is the first yeah, fade out that Seventeen's had for a title track.
J: 'Cause it's like if you don't like fade outs and you can't like decrescendos because it's like that's the decrescendo.
That's like, that's literally what it is, it's like it's literally a fade-out.
Like so many classical composers write it into their music,
but like we don't call it a fade-out because its classical music and how dare we touch those,
those pillars of you know musical foundation, but like that's that's a spicy topic for another time.
U: What does the comment section think? Tell us.
J: Ooh yeah, oh yeah yeah yeah. Start a fight in the comments. Cancel me right now.
U: No please don't.
Let's- let's uhh...
Professionally and respectfully discuss thoughts on fade-outs and decrescendos and music.
J: Respectful social discourse. That's what we're all about.
U: Alright, well, thanks everyone for checking this out. And I hope you all have fun time jamming to this for summertime.
J: All right~ U: Yayyy
J: Thanks everybody U: Bye guys~ J: Bye bye~