Lindsey: I feel like the harmonies in Day6 songs are very like, characteristic of Day6. You know what I mean? Like,
The songs do not all sound the same by any means,
but it's like I hear this, and I'm like, this sounds like a Day6 song.
Umu: Okay, so now you guys are reacting to your very first K-band. This is Day6, so, they play their own instruments,
they compose their own music. The very first song, 'Warning!' is the opening track for their latest album, titled, 'Youth'.
It is about falling in love with someone, and you know the relationship has a high chance of ending badly,
but you just can't help falling for them.
Peyton: Hoo! Damn!
Comin' for me.
E: 3 2 1
Melissa: Ooh. Classic rock sound ELizabeth: Oh, we got that like, grungy sound.
Melissa: Yeah
Wow. Wait, I love this.
I like that, ooh, scary.
Oh, it's scary cause it's a warning. Wait that like is how music supports...okay, shush. Text painting!
Kevin: Already in the major. We just we just directly change the expectations right from the beginning.
But then another type of major: parallel relative.
Actually, I really like that kind of like, choral background. They have like, little choral lines in the back. That's pretty neat.
Peyton: Wow.
That's, wow!
Wow.
These are my friends, to me.
Lindsey: Oh, yeah, Jae. That's right.
You sing it. Fiona: Jae's breakin' it up.
Oh man, this bass line is like,
ugh. It's making me like, edgy. It's just like, (mimicking bass).
Lindsey: I feel like the harmonies in Day6 songs are very like characteristic of Day6. You know what I mean? Like,
the songs do not all sound the same by any means,
but it's like, I hear this and I'm like, this sounds like a Day6 song.
Kevin: Ah! You expect the instrumental to come back as the interlude, like a traditional rock song,
but no, it goes straight back to the parallel major for the second verse.
Collin: I actually like the tambour on their guitars. It's good.
Peyton: Wow
WOW
Peyton: I'm sorry, these are just like, bringing back some real repressed memories.
Kevin: Also, note the Dorian
chord progression.
Major four.
Lindsey: Yeah, I feel like it would be kind of like a dark concept, with someone running away.
Like someone leaving you at a wedding or something.
Fiona: What is the line?
Lindsey: I don't know. Who knows?
Whoever knows. Fiona: Warning! I love that.
Warning!
How it repeats, just sounds like an electronic warning, like set your house on fire. It's like, (mimicking speaker noise) warning!
Lindsey: That momentary falsetto.
Elizabeth: It's like ethereal major sounds, with the held
pedal tones and the
melodic singing on top of this like really aggressive bassline. That's an interesting mix.
Melissa: The percussion's super aggressive.
Kevin: i like how the last note, kind of ends on the sixth chord.
Gives the instrumental more value and heft.
Peyton: (singing) Charlotte:Interesting resolution, there.
Not quite what I expected.
Peyton: Yeah. I'd say so. I sound like really angsty. Like, you know, don't do it man!
Like I could just like, see a music video happening in my brain
that starts me doing dumb shit my freshman year.
But,
I mean I say that. I definitely like, in hindsight don't regret it, because obviously like, she was awesome,
but like all at the same time if I could go back,
probably might say, hey,
you don't know what you're getting yourself into. But good luck!
Isaac: Something that caught my attention was the
tambours between
Sungjin and Wonpil Umu: Wonpil Isaac: I thought it was nice how they,
it was passed on, because it was the same in tambour, but then the way they end the inflections at the end,
is very, very different. So it's like I thought it was very nice
how most of them have a very similar tambour.
Specifically, when they're passing it on, like at the very beginning, but then near the end, that's when they really show their individuality,
because the way they choose to vibrato their voice, and I thought it was very cool. Yeah, it was very like,
enjoyable for some reason. It continuously went through these harmonic
progressions, and it's just like, it's never dull or loses its spark. And then the way they introduced
like repetitive words, like "warning". Umu: "You better stop". Isaac: "You better stop". Now,
it's like, if these interruptions are so, I guess they're so
compatible with the the continuous flow that they're trying to go for.
Yes, you're going through the motions,
but then all of a sudden you have these warning signs really just blaring in your face.
And I think that really added to the texture just like making it so
different or not so repetitive. Kevin: It also fits the theme of a rock song.
You're playing this very edgy, minor song that's singing about love in a way that a lot of
countless other songs have done before, but when you add the words like, "warning" and "you've got to stop" there's suddenly like, this weird.
crime-like edge to it. It fits the overblown nature of the music so well. Yeah, it's very hype.
And you know, I like my
soft
Day6 songs. I like my Day6 songs when they're singing at their comfortable range, and it's like you can bop to it,
but you can also just chill to it.
But I really like it when the boys go hard! And they do go hard!
Umu: 'Talking To' is a b-side song from the same album as 'Warning!'. Fun fact,
this group actually decided who would compose which part by playing rock, paper, scissors.
So, they played like a game of rock, paper, scissors, and who won the first round ended up being Wonpil, the keyboard player,
and so he chose to write the chorus.
So, as the game went on they chose different sections of the song to compose,
they went off for 30 minutes, composed that section, got back together, ended up working, boom!
We have the song. And they came up with the idea of 'Talking To', like talking to someone in the middle of the night, and
that's how they got the lyrics.
Kevin: W'ell listen to it,
and I'ma give this song a talking-to.
Charlotte: What?!
Melissa: I like this. Elizabeth: got that tritone.
Lindsey: I like this guitar line that we got going on, right away. There's some like weird....
Fiona: Young K is hot. Lindsey: doesn't go where you expect it.
Kevin: The wateriness
of the opening synth and keyboard sound gives a sun-baked quality.
This is a great summer hit.
Fiona: His voice sounds his voice sounds so good here. Lindsey: His voice always sounds so good.
Fiona: I like the reverb they put on it.
In the (clapping) Lindsey: She's talking about Jae. His voice always sounds good.
Lindsey: Whoa. Fiona: Ooh, I like that.
Lindsey: Did the key just change?
Okay, it was very sudden, Fiona: I don't even know.
Lindsey: to the point where I couldn't even fully tell.
Kevin: There's a little bit of that initial D major sound that grounds it, even though it's in B major for that transition.
Melisa: Ooh, I like the call-and-response thing. Elizabeth: Yeah.
Elizabeth: The melodic line moves more Melissa: (singing)
Kevin: And in the D major chorus, the B major sound comes back, too.
Circular. Comes full circle.
Peyton: It's like, they tried to do like a 2, 5, 2, like the minor, but they made it major.
It's interesting.
Charlotte: Mixture Peyton: Mixture
Fiona: That was cool. (singing) Lindsey: Yeah, they've got some interesting harmonies
Jarod: All right!
Jarod: Oh, this is like going between so many different like, places Collin: Yeah, this is weird.
Charlotte: This is so laid back. Peyton: Yeah.
Charlotte: on the back of the beat Peyton: Yeah
Kevin: Aaaah! That's really good.
So, they sing, "just talking to", and it's in B...I'll talk about it later. Never mind. Scratch that.
Fiona: (singing) LIndsey: I love all this modal mixture that they have going on in the melody, because I don't know, it just, is cool.
Fiona: It makes it like, it leads you different places. Lindsey: Yeah, it makes interesting.
It like, Fiona: Mm, hmm.
Lindsey: keeps you on your toes.
Elizabeth: Oh, this is a lower voice. Definitely a different tambour. Melissa: Oh, yeah.
Melissa: Oh! I love that! Elizabeth: Now the drums have dropped out.
Melissa: I like how there's just that little (singing). Like, the higher voice.
Elizabeth: This is like a major major 7 chord that comes at the beginning.
It's odd.
Lindsey: Is Young K the rapper? Okay, that's what I thought. Fiona: He's the hottie.
No, Jae's the hottie.
Fiona: Okay. Like, they're all the hottie.
Lindsey: That's also true.
Fiona: I like that part.
Fiona: (singing) Lindsey: I feel like...Wonpil? I feel like his voice has like a slightly nasal quality to it,
but it really works well in the context of the group.
Kevin: Aaah, colorful synths.
No! Too short, too short.
They should have played a full four measures before they started the fade out, cuz I love that sound so much.
Isaac: (singing) Kevin: Yeah.
Umu: So?
Isaac: That was so enjoyable.
Kevin: Yes! Isaac: Wow.
Isaac: I really liked that piano vibraphone kind of sound, where it just like, ornaments
after the downbeats of each one at the beats. And the way it's set up in the beginning,
it's like it really sets off like an offset feeling, so you're like,
there's a sense of like no origin, or there's no center. But then once you hit the chorus, man, that is
such a wonderful feeling. And then later, you have the ornaments covering it later. So it's just like, ah!
I really enjoyed each one of the sections, because it showed the individuality of each one of the people singing.
Kevin: Mm, hmm. Isaac: And then yeah,
it's like the stylistic differences, they really aim to make sure that each section is very definable for itself.
So it's like, if it's a chorus,
it's a chorus. There's more
instruments. And then the other like verses, they would thin it out with instrumentation and focus more on the voice. So,
overall, really wonderful. I loved it.
Kevin: Yes!
Kevin: The song is very clever in its composition
because
we have a section in B major, and the first chord of the chorus is E minor, which is the two chord of D major.
Basically, B major is the dominant of E minor.
Isaac: Um, hmm.
Kevin: And so, one thing that they play around with a lot is, is this section gonna start in B major,
or is it actually gonna to start in E minor? And in the second verse right afterwards,
we expect the B major transition before the chorus, but what happens is they sing da, da, da, da, so we're like, oh, yeah,
we're gonna go to B major. But no, they skip it, because it's da, da, da, DAA, and then the chorus starts.
Isaac: Yeah.
Kevin: Yeah. So they use those notes
to kind of bait us
to thinking that the same section would appear when it's a totally a different section.
And the thing is, the chorus also
resolves in B major, and after that it repeats, so the B major goes to E minor, and that dominant tonic
relationship gives it more drive and more tension than an otherwise more cliched chord progression song would.
Elizabeth: I think it was a little bit of text painting, because they had the lyrics up and it was like
you know, they were talking about sad things and it got minor, and then they were like, okay,
movin' right along, and they brought us kind of suddenly back into major.
I couldn't sense a strong pivot chord, it just kind of like, the third
changed to be major, so. Melissa: Maybe that symbolizes how you just gotta like get over it. Just kind of pick yourself up
without a pivot chord, sometimes. Elizabeth: Yeah. Could be.
Melissa: Sometimes life doesn't give you pivot chords.
Jarod: I think understanding the background kind of, in a way,
it's like I feel like surprisingly good despite that, but at the same time, it did kind of like hop around to some very like,
weird places at times. Like I don't know, it had that kind of like Latin vibe in the middle of it,
and there's like this Fall Out Boy vibe, and it's like
everything else in between. Collin: Well, you can, yeah, you can definitely hear the separations.
But once again, like, I thought they worked well. Jarod: I think the driving,
I feel like the beat and the guitar kind of served as like the glue, if you will.
Collin: Oh, yeah, and then there was that, uh, I think it was either the keyboard or maybe was it just a track,
but it was just like, especially in the chorus, like, one, two, three, four, one, two. Jarod: Um, hmm.
Collin: But like, and that's what reminded me of Fall Out Boy,
Collin: which is funny.
But like, yeah
Fiona: That was really fun.
Fiona: It was really full. Lindsey: I liked the first one better.
Umu: Because?
Lindsey: Because it's something like, I don't know, I like it sounds a little bit more
rock and roll. She likes her music grimy and
crusty. Lindsey: Yeah. Pretty much. Fiona: It was good.
Fiona: Yeah, I liked both of them. This one was more like (singing). Lindsey: Yeah. Oh, I know. I definitely liked both of them.
Fiona: I really liked the chorus. He did a great job with it, but he repeated (singing) Lindsey: I agree.
Also, this one was a lot more harmonically interesting than the first one.
Fiona: Mm, humm. Yeah. Lindsey: I think there was a lot more mixture, and things going places where you didn't necessarily expect it to go. And the harmonies too,
like, they had some very tight harmonies in there, and that sounded really cool. Fiona: I agree.
Lindsey: I don't know, I guess just my preference is the first one.
Collin: ..better. Umu: You like the second one better? Collin: Actually, yes.
Umu: Because? Collin: More creative
Collin: Probs cuz it has the... Jarod: Yeah, the variety
Collin: Well, there's the four, uh, and like I'm sure there was like a lot of editing that went into like, to make those actually cohesive,
but there was more variety.
Jarod: Yeah, I would agree with everything you just said. I second that.
Kevin: I like 'Warning!' more.
I think, knowing a lot of the Day6 songs before that,
I think 'Warning!' is the direction that is more fresh. I always prefer hearing that done
so well, compared to
a very enjoyable song like 'Talking To',
but in terms of preference, I think 'Warning!' is
something new, and I like that. Isaac: Not knowing Day6 too well, Kevin: Um, hmm
Isaac: I thought both of them were pretty nice
in their own separate ways, where I guess they're distinct genres.
It's like, the first one in a rock concert would be just so cool,
but then for the second one, I feel like it's more like a personal listen, in a sense.
Kevin: Mmm.
Hello everyone, I'm Umu, and I'm the channel runner of React to the K. I really hope you enjoyed watching this video.
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