Melissa: Oh my God, the dubstep section is the best. Honestly, the dubstep section is like my favorite part of every Mozart symphony.
Jason: Next up is a boy group called Topp Dogg,
Umu: that debuted in 2013 under Hunas Entertainment with 13 members.
This is a b-side song that was composed by Deez and Monitor Punch and released on their album called
'Amadeus'. When you look at this title, you may think, Amadeus? Hmm, do they mean Mozart? Yeah. Yes, they do.
I actually wrote that down in my script, okay?
Elizabeth: Amadeus? I'ma don't, not about that life Melissa: That's really rude, Elizabeth.
Umu: And the song is about a romance conveyed through music.
So they do use like musical terms like crescendo and you know, all that fun stuff. Collin: sforzando
Umu: Sadly, I couldn't find a lyric video for this, so we're just gonna be listening to the audio,
but I'll look for the lyrics if you want them afterwards.
Jarod: Presto, Collin. Hit it. Collin: One, two, three. Jarod: Hit it, git it.
Collin: Presto.
Elizabeth: That was Dvorak .That was not... Melissa: Oh, yeah. Eizabeth: That was not Mozart.
Hugo: Wow. Rachel: It's very marching band.
Hugo: Yeah.
Lindsey: Oh, T-O-double P, D-O-double g.
Ah...vivace. Fiona: Ba boom, ba boom.
I hear them saying music things.
Kevin: Oh, I like the variations on the Mozart 40.
Collin: This is the most bizarre thing. Holy sh*t!
Elizabeth: I feel like we're going through a bunch of different songs.
Melissa: Yeah. Elizabeth: Each section feels so different, and the melody's different.
Yeah!
Melissa: No, but like, even the... ELizabeth: Listen! The whole texture changed!
Hugo: Oh, we're major!
Oh.
Rachel: I like this part.
Hugo: There's so much goin' on. Rachel: This slap bass rhythm thing? Da-da-da-bum-bum. That's good.
Melissa: I feel like this song is just like a roller coaster--it's not even like one section to the next is different,
it's like one measure to the next is different. But I love it.
Elizabeth: It's block-based composition. Melissa: Wow!
Melissa: Like Stravinsky. Melissa: Yeah!
Kevin: (singing)
No, not really.
(singing)
Vibraphones? Marimbas? Marimbas.
Fiona: It's like, very dramatized peril Lindsey: Yeah. Fiona: that the vocalists are going through.
Fiona: It's not subtle. So I think that's what ages it, in a way.
Kevin: Oh! Isaac: Aaugh!!
Isaac: What?!
Kevin: It's still 'Für Elise'. Isaac: I hear it.
Kevin: Oh, God.
Isaac: But it's still... Isaaac: Dubstep!
Melissa: Oh, my God, the dubstep subsection is the best. Honestly, the dubstep section is like, my favorite part of every Mozart symphony.
Rachel: It's almost calming, the chorus, because you arrive in a key.
Kevin: Oh my God. This song goes 110%.
Collin: I'm in shock.
Collin: Oh.
Jarod: Oh, my God.
Hugo: Wow. Rachel: I feel like 'Amadeus' may have been a mis-title.
Hugo: Yeah. Rachel: They probably need something spicier.
Wow. It was just...wow.
Elizabeth: These guys or Josuin des Prez--which one?
Melissa: These guys. 100%. I love this. I love this piece
Elizabeth: Why "Für Elisewould you call it a piece? Melissa: It's a compositional clusterf*ck, and I am very for it!
Elizabeth: That might be slightly intense. It just felt like every like four measures we changed texture, we changed instrumentation,
sometimes we changed key.
We changed tempo a lot of the time. Like,
if you asked me to sing the melody, like I couldn't. I have absolutely no idea what the main melody was through that piece.
There was never any respite from just like, keep on moving through. And I mean there have been composers in the past
who have done stuff like that.
I mean, there's people like Stravinsky, who loved to do like a section of one thing and then add in
a completely new section without any transition in-between. So, like, if you listen to 'Rite of Spring',
you'll have the DA-DA-DA-DA-DA-DA
and then it'll just stop; and completely cut out, and the English horn will be like da-da-da-da-da.
Melissa: DA-DA-DA-DA-DA-DA Elizabeth: Yeah. Melissa: I forgot how the accents go Elizabeth: So it goes back and forth,
and there's nothing in-between to stop them.
So, that is a compositional technique that people have used. It just felt like
maybe the different sections were slightly too similar,
so it didn't feel like they were trying to do something interesting with it, and it just felt like way too much at once, and
I wasn't sure what they were going for.
Umu: But why do you love it Melissa? Melisa: I'm awake now.
I was tired when came in here. Now I'm not tired anymore. So thank you, Topp Dogg.
Umu: Yeah, what do you think of that? Some of your thoughts. Ready set go.
Jarod: You know how sometimes when you're like, eating food,
and you have a lot of different things on your plate, and then somehow by the end, it's all kind of mashed together?
That is how I feel about this song. And there was kind of a lot happening, and like, they very much try to force in
these
classical Collin: Forced. That's a very good word. Jarod: Yeah.
Collin: Yeah. No, go on, go on. Jarod: Yeah, but like, you had that Mozart thing, Collin: Ugh.
like, there was a brief reference to 'Für Elise' . The balance was so off, that you just get this earfull of electronics.
You're like, okay, so are they trying to like make another quote with the piano? Like what are they trying to do here?
But it's like so much not that happening, that it's kind of hard, and it's like such a
brief snippet that you don't have enough time to like register what's going on, because there's so much.
Yeah, I felt like my mashed potatoes got in with my, you know, cranberry sauce.
Collin: What an analogy. Umu: Oh...
I mix them together.
Jarod: Eww!
Umu: It's so good!
Jarod: And then my corn got in with my pie. And then my plate's this big thing
of mush. Like, everything is there.
Collin: So like, they had this idea, obviously, and I think it's actually kind of a good idea, with
the like, using musical terms as a metaphor. I actually think that's kind of a good, poetic idea, but the execution is so aggressive.
It was really strange. Like, what?
But like the thing is, it was skillfully done, though.
Like, I didn't say it was like, worked perfectly, but like, that's super hard to do. Jarod: Yeah. Yeah.
Fiona: Uh, that one was layered
It was a lot of layers. It's like an onion. You got layers.
Lindsey: Yeah, there was just like a lot going on in there. And it was very cool,
and there were definitely some times when I could hear like,
allusions to Mozart, and
stuff. But overall, it's just like, I needed a video.
Fiona: Yeah, I think so. Lindsey: I really needed a video. Cuz I just want to see like, an intense dance video
with like a lot of flashing lights, Fiona: That would give a lot of flare. Lindsey: changing scenery, and
yeah, I just feel like that would make the song make more sense. Fiona: Yeah. Lindsey: I noticed a lot of mixture. A lot of mixture.
Isaac: What the hell was that?
Isaac: My goodness! Kevin: Okay, overall, I liked it.
I think the TVXQ thing was still more meme-worthy, so
I think I still gravitate towards that one more.
This one almost risks the every instrument battling for like the top dynamic thing, but like,
you know, for a song that tries this hard musically,
I think that type of production almost helps it. It's just so over the top. I dig it.
I dig all of the non-Amadeus references, just like all the composers. And even the new material, like, (singing)--
that's probably a tune that I can't remember, but let's say it's original.
That's still within the classical style,
and I kind of appreciate that. Isaac: Um-hmm. Kevin: Like how all of the melodies, they feel like, you know, they're very scalar. They're done in a way that
doesn't sound like most K-pop. It's not a K-pop direction, the way they compose melodies here, so. Isaac: Yeah. Now talking about the classical style,
it's like they have ascending thirds, and I thought it was interesting.
That's a really great way to like transition into a new theme, or to develop or tonicize
a key. I thought was interesting the way they used arpeggios, but they're using different instruments. So the first was strings, and now
It's like some like weird synth instrument,
Kevin: Yeah.
Isaac: And then I really enjoyed going into the chorus where you have like this straw-like sound, like, whoop! And then you come back down with the piano,
but then the third time it was iterated it wasn't brought out. The sudden quote to 'Für Elise'? Kevin: Oh, my God. Isaac: Oh, my goodness!
It just kept going. Kevin: Yeah.
Isaac: It's like, you know when
you want something to stop, like a cacophony of sound? Like you just want it to stop because it's like, you know
what's going on, you know there's pop music,
you know there's 'Für Elise', and then they just keep going and they don't merge completely,
Kevin: Yeah, and they don't even completely...like, after the initial, you know, the obvious (both singing Für Elise)
they stopped using the melody Isaac: Oh, yeah. Kevin: but you know it's 'Für Elise'. I think they got that uncanny valley really right.
Isaac: Agree. Kevin: Yeah.
Isaac: Dude, that was really...ah, man. Freakin' weird.
Kevin: Yeah.
Hello everyone, I'm Umu, React to the K channel creator, and I'd like to thank you for watching this video.
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