Umu: Hello everyone and welcome to our æspa 'Next Level' reaction!
Before we dive into æspa, I have a little announcement to make:
*drops into frame* We've dropped our first merchandise line!
...collection...
...thing.
So in celebration of our fifth year anniversary on YouTube
I wanted to put a check-off on the next milestone
and create a small merchandise collection for our viewers.
This collection is only available for a limited amount of time,
I will put all the details about the shop
and the closing day and the shipping information
in the description below.
I worked super hard for the past few months,
trying to pick out clothes that would be super comfy, [t/n: warning - ASMR ahead]
like, this is like legit super fuzzy, do you see, do you see?
It's super super soft!
So while they are still available,
please head on down to our shop.
Hope you enjoy our reaction!
S: Hi, I'm Sean, ReacttotheK's channel arranger
and host of 'Classical Composer Breaks Down the K'.
U: Hi everyone, my name is Umu
and I run the 'Classical and Jazz Musicians React' series.
Welcome to our first æspa reaction on the channel,
sadly, when 'Black Mamba' came out,
I think the majority of us where on hiatus,
and also there is like a vetting process
that we run songs through to appear
on that 'Classical and Jazz Musicians React' series,
I'll put more information about that in the description.
So, welcome!
Let's go, both of us have heard 'Black Mamba' many times
and the 10-minute...thing?
S: SM Culture Universe ep1. Black Mamba.
U: That.
We are super ready, I have been tweeted many times about this song.
Let's go.
S: We are also aware that it is a modified remake of an existing song,
U: Oh yeah, that... S: We are also aware that it is a modified remake of an existing song,
U: Oh yeah, that... S: we have not heard that song yet,
S: we have not heard that song yet,
so we're first gonna experience this just as it is without that context.
U: 3 - 2 -
"mamama mamba" [sings line from 'Black Mamba']
S: Uh, it's a nice sound. U: *clap clap*
U: Wow.
S: Okay, the bass from the teaser.
U: Oh, a lot of eq-editing on that bass.
[t/n: equalization - adjusting frequency balance of audio]
S: Okay, finally getting æspa rapping.
Karina first, interestingly.
Like, they've withheld any like -
oh okay, "KWANGYA" already.
U: Uh.
Nice vocal growl.
No high end [register] at all, yet -
oh, just kidding. There's higher percussion.
U: So I guess we'd call this the chorus.
S: Now, is this...?
I thought we were going into the chorus but -
I mean it has this title, but...
U: This is definitely the chorus.
It's the catchiest partus- catchius partus?
Transition section.
S: Ah, chromatic descend.
[t/n: chromatic descend - going down in half-steps] [thus, some notes used are not in the 'normal', diatonic key.]
U: Verse 2.
S: Oh, "nævis", okay.
I assume they are in the KWANGYA now,
because this place looks really weird.
Or no, I guess the æs would be in the KWANGYA.
U: A new section, musically. S: Unless they're also going there.
U: Another new section.
U: And we're in the middle of the song...
call this a middle eight, maybe?
S: Pardon?
U: Middle eight.
S: Yup.
U: We changed tempos. We changed tempos. S: Okay!
U: We changed the song. This is a different song. We're gone. S: New swung section?
U: We're gone, we're somewhere else, what is happening?
S: Oh okay, and switching to æ, æ-Ningning.
Okay, "KOSMO" is a new term.
Oh yeah, "P.O.S". is "Port of Soul", that was in the video.
I just realized, the *sings ooeeoo-part* is a little bit like the
*demonstrates* in Resonance (NCT).
It's not the same notes, but it's that same
sort of abruptly high sung "Uuuuh"
U: Chorus 2. And the song is almost done.
S: I think - well - unless this was...
Wait, did it start with a chorus?
U: Maybe.
S: Uh, that's a nice set.
Okay, let's see whether there are any other scenes.
Just the logo. Okay.
So that had quite a surprise in it!
U: No wonder I got like a hundred tweets, saying:
"WHAT'S THE FORM?"
It's like a palindrome, almost.
(U: palindrome?) S: No, a palindrome would be something that's same front and back.
U: Yes, because I- If we started with the chorus... (S: I think we-)
But we didn't get the chorus twice at the end [beginning]
I think it might have been intro and then palindrome.
S: Going into the last chorus, there is the *ooeeoo*
U: Which they had right before going into the swung section. S: Which seems to be, yeah, which I think is the pre-chorus.
U: No, because that didn't appear before the first chorus!
Dr. Sean: There are a decent number, I feel like, of songs,
where they start with the chorus, and like,
there is not a pre-chorus before that.
U: Nonononono, we had the chorus three times.
(S: Yes.) U: Start with chorus, verse, chorus,
S: Okay, I thought it was chorus, verse... U: that "ooeeoo", swung section...
*kaleidoscope of arguing over form*
U: We're gonna jump through the song,
we're gonna figure out the form,
and then we'll listen to the 'Hobbs & Shaw - Fast and Furious' song,
(S: Okay) U: and make comparisons.
U: So instrumental intro, just introducing the bass line.
S: Yeah, I think this just would count as introduction.
U: So we start with a chorus. S: So chorus, yeah.
S: Yeah, because it was really sparse I just assumed it was the verse.
U: But I don't remember these lyrics being part of the chorus?
S: The "제껴라 (x3)", I'm... U: Yeah, did happen, maybe it's just an altered version
U: ...of the chorus. S: Yeah, they might change up the lyrics
just so they can fit more text in.
U: Yeah, so then we go straight into ver- okay!
S: Okay, oh- I thought- U: What you think is the pre-, I think it's the post-chorus.
S: Okay...
U: Maybe.
S: But doesn't it happen before the last-
oh, okay, maybe we're backing your palindrome, I see, okay,
Okay.
So we had chorus, ooeeoo, "I'm on the next level", we have ooeeoo,
well we'll take of the section names for now. (U: Okay(x3))
U: Now 53 (seconds in).
U: Chorus! "Next level", okay. S: Now we're back to a chorus.
U: And the lalalalala, which is transition into the bridge, right?
S: -ish, or the swung section.
U: No, verse! // S: Wai-
S: So like the "lalalalala" is kind of acting as a post-chorus,
S: although I think it only happens this time, so... U: Once, yeah, so it might be just transition section,
S: Yeah, yeah. U: we can mark it as a plain transition section.
U: So, "Next level" - ooeeoo -
S: "Next level" - transition - U: "Next level" - lalalalas -
S: Yeah, yeah... U: verse.
S: Wait.
S: Okay, just a moment. U: Although the thing,
U: the rap rhythm and the way that they're doing inflections
with the chorus is *demonstrates*,
which is the same exact as the verse (S: yeah),
so can the verse be also the chorus??
S: Okay, I s- U: IT'S THE SAME!
S: "I see the NU EVO" (U: yeah?)
S: That looks a lot like 'NU ABO'!
U: what?
S: *singing 'Nu ABO' by f(x)*
S: f(x) (U: okay) - 2010, one of their first comebacks.
S: Like I feel like it's a pun between 'Nu ABO' by f(x)
and EVO, like new evolution.
U: We can call this a verse
because the lyrics are different than in the chorus.
S: There's nævis...Yeah, there's nævis from- the one opening the portal. U: Still verse... so 1:39.
U: 3 2 1
U: What would this be?
Maybe another transition section, (S: Maybe?) when the bass comes in for the-
U: -or the 1 - ♭2 - 1, the phrygian bass, brass-ish bass,
U: 1:44, (S: yeah) is when we go into the swung section.
U: Or not yet. S: Nope.
U: WHAT?!
S: Oh... yeah, this does, actually yeah, U: Bridge, you can call this bridge [?????]
S: This sounds exactly - like this is very SM bridge, actually. (U: Yeah.)
U: Or even pre-chorus, this is also SM pre-chorus. S: Yeah, yeah that's true.
U: They literally musically take us into the...
S: the KWANGYA.
U: Yeah. Haha!
S: I really like how fluidly they have them like
switching into the æ-versions, like...
it's a really nice visual transition. (U: Mhm.)
U: Okay, and then we go straight into 2:50, 3 2 1:
U: Into the ooeeoo. S: Okay, the ooeeoo.
U: Which happened after the first chorus,
but it's now happening before the final chorus.
S: Yeah.
Okay, yeah, you're right, this is more palindromic, this is not-
this doesn't... this doesn't-
I mean, I guess-
I guess it- well-
I guess- okay.
U: And the chorus is just veeery long.
S: Okay, so the form we have:
U: Intro bass - "next level" - S: Intro - "I'm on the next level" -
U: Oooo! Yeah, ooeeoo! S: which I think - ooeeoo, yeah -
U: "next level" - transition lalalas S: chorus - transition lalala
U: and then a bunch of stuff that never repeats S: And then kind of a verse
U: Oh right. S: but it sounds a lot like the chorus...
U: Then a bunch of stuff that never repeats. (S: And then...)
S: Yeah, there's the singing featured
that's still in the original tempo and rhythmic feel,
and then there's the swung section...
and then there's ooeeoo
U: And then there is final chorus.
S: Final chorus. Yeah, if it were fully palindromic,
there would have been another chorus before,
like after the big middle section and before that ooeeoo,
so it would be... (U: Right, right)
S: I mean I don't think that would have been the right idea,
like I'm glad they didn't do that
cuz that would have been too much chorus.
Um, so, I'm not saying they should have done that,
but like that would have been fully like just...
all about palindrome, or, at least in terms of sections,
if you just count sort of that middle as just one big section,
like it doesn't - the sections, the subsections in that,
of the lalala, the sort of verse on chorus based sung bit, swung bit,
like those don't have palindromic structure.
Yeah. That's...
U: Pretty dope!
For me this is definitely ear candy, like first listen,
this is really awesome to listen to,
it is doing things that no other songs are doing,
but re-listening, I am not really getting any energy from this.
S: I do feel like the chorus...
It would have benefited from a better chorus.
Like the chorus (U: Yeah) is kind of too sparse.
U: It is very, yeah, we don't have like a lot of texture. S: Like it's to much just like: It's the bass, it's the beat,
U: and like *imitates high pitches* S: and like a fairly slow rap,
U: also really quiet, reverb-y, *high sounds* S: Like, yeah, yeah,
S: Like if the rap were more interesting, I feel like it could work...
U: They went for catchy, that other people could sing along with.
S: Yeah, and I think, like I think
they either needed a more complex rap
or like stick vocal harmonies around it
so it was more engaging in the choruses,
U: Then that wouldn't be as catchy. S: Or put, or keep it catchy and make the instrumental more complex,
like I think, and that's probably the actual solution,
cuz I think you're exactly right that it's good to have a catchy chorus,
and just like the "I'm on the next level" IS catchy,
but yeah, I think they needed more in the instrumental there to...
U: Where do you picture yourself listening to this song,
what kind of emotions do you get from this?
And maybe I'll read the comment section and I'll adapt
what you guys think of the song,
cuz I'd love to see where, what feelings, like is this,
is this like a strutting song,
like when you're going on your morning walk - type thing, or like,
getting prepared for an interview,
does this hype you up, does this make you feel powerful?
I'm curious what you guys think, now let's check out "Hobbs & Shaw".
S: Something that I really like with this, with 'Black Mamba' and this,
is like the lyrics are about the lore.
Cuz I feel like there are a lot of groups that do lore,
and even if the lore is a big part of the group,
it's like, the lyrics are just like some sort of standard topic,
it's just like, "Hey, believe in yourself" or
"I'm in love with somebody, I guess".
And then maybe there are like a phrase or two
that connect to the concept, but mostly it's just
some sort of standard lyrical topic, and like æspa,
the lyrics are about the lore.
I actually want to pay attention to the lyrics
because I'm getting to understand the lore and the world of æspa
better through those.
U: 'Next Level' - Fast and Furious presents Hobbs & Shaw OST!
3 2 1.
U: Okay, (S: Okay) so the muffled bass was taken from that.
S: Little bit, and this is... U: This is even more muffled!
S: Yeah, and it' s in E, rather than in F♯, so
they may have moved it up for their voice.
Also this is - this is in the same - if rem- wait.
Actually I shouldn't say that, I'm not 100% certain of it.
U: What do you want to check out?
S: I think this version of 'Next Level' is in the same key as 'Black Mamba'.
['Black Mamba' playing]
U: But this is in a different key than æspa's 'Next Level'? (S: Yes)
U: Gotcha. 20 seconds in, 3 2 1.
Okay.
Oh!
S: Oh! Yeah. U: They kind of sing different, like,
U: is it different intervals?
*hurrying over to piano*
*piano time!*
S: I think it's more: *B♭-D♯-B♭-E* in this, or
*B♭-D-B♭-E* in this, [♭5-7-♭5-1]
whereas in æspa's it's more just a clear *C♯-F♯-C♯-F♯*
perfect fourth, dominant and tonic.
And here, like *plays piano* I don't think it's exactly
*B♭-D-B♭-E* or *B♭-D♯-B♭-E*, I mean it's kind of between those.
U: So basically what æspa took
from this track is like the first half of this song,
unless this also goes also into swing.
S; Yeah, I'm guessing this is - okay.
So far, I mean clearly it is like a minute shorter,
so it's gonna be missing a bit of what was in æspa's.
U: This is the third chorus!
S: Oh, did that one have that missing beat in it? (U: Yes) Oh okay.
U: Of æspa. 55, 3 2 1
U: Unless they just do the same thing again.
U: Okay, they also have the lalala (S: Okay.)
Oh that's... I don't know if they had the vocal doubling in æspa's song.
U: Okay, so this is verse, yeah. With same rhythm, of course. S: Yeah, what we - yeah, the sort of verse over a chorus.
S: I think this is not... I don't think this... U: Yeah, did æspa have that section?
U: And - okay, this is where æspa kind of left-turned. (S: And then we're-)
S: Yeah, and I'm guessing this may just be to the end, this,
the ooeeoo's and then maybe just "the next level" after this.
U: Okay, so they cut their second chorus and used this in a verse...
S: Okay, okay.
U: Okay! S: Okay.
S: I mean it's not exactly straight-up pop song form, anyway,
if you take that one, that one is:
"next level" - ooeeoo - "next level" - transition, sort of post chorus (U: lalala)
S: verse-ish - ooeeoo, chorus, yeah,
they're both three choruses
but the choruses are right at the beginning and end
and there is more stuff between the second and third,
but there's A LOT more stuff in æspa's, and...
also, I feel like kinda all the best parts of it are in æspa's.
U: I mean they SM-ified it.
S: Yeah, like, like the chorus that needed more in it in some place,
like they didn't have any more in it in that original,
I think they should have added more in the chorus,
everythin else I'm fine with how they did it,
S: the chorus... U: The cowbell section was dope,
U: the *dingdingding* (S: Yeah),
U: 'cause it's a contrast, you have all these,
this very warm muffled low end and rapping in a low part of your voice,
then suddenly adding *dingdingding*.
Yeah. That was nice.
So yeah, let us know what you think of this song,
if we answered some of your questions, I hope we did,
just put your theories in the comment section for us,
and we'll see you next time.
U: Thanks for watching! S: Bye!