Rachel: aH
both: SHOOK
Hugo: That is NOT where I expected it to go Rachel: That was so cool!!!!!
Rachel: Or there, honestly Hugo: OH
Umu: This is TVXQ, neither of you have reacted to this group before, but basically
U: They used to be a group of five guys, and they were like, one of THE main groups to make kpop popular in Japan and China
U: Three of them left actually to start under a different company because they were really fed up with SM
U: But these two continued on and this is their 2014 release, it came in a repackage album celebrating their 10 years being together
Hugo: AWESOME POSSUM
Hugo: Opossumly awesome here we go 1 2 7 {i hate.}
Rachel: oH dat bass
Jarod: Is this how you play violin? Katie: Perfect, you nailed it
Rachel: I feel like its gonna... be really loud in a second
Hugo: I loving these, like, random sounds Rachel: OH GUYLINER
Jarod: We would call this ~contextual composition~
Jarod: Cause you're giving sounds given in context to enhance the music
Davis: I'm trying to, like- oh, he's going ALL IN
Peyton: [GASP]
Khanh: Okay
Kevin: Yeah right Khanh: Cinematic
Kevin: Watch the real song actually be nothing like this
Davis: [S H O O K]
Both: [SHOOK]
Davis: That was SO GOOD
Henry: [SHOOK]
Henry: what is happening
{all of their reactions are so funny sldkfjs}
Jarod: That was cool
Katie: HOOOOOOO SHIT
Rachel: AH
Both: [SHOOK AS HELL]
Hugo: That is NOT where I expected it to go Rachel: That was SO COOL
Rachel: Or there hugo: OH
Kevin: Sori sori {was he trying to reference sorry sorry by suju???? idk yall}
Khanh: WOAH
Khanh: OKAY
Kevin: So the actual song was different, but in a good way Khanh: Wait where did the girls come from? Hang on
Khanh: What? WHAT?
Khanh: What- What?? Kevin: WHAT???? Khanh: WHAT IS HAPPENING
Henry: Are these weird talk box, like recorder things?
Emiel: Yeah, I'm so confused right now, I'm trying to figure out what I'm gonna say
Fiona: This is smoooOOOOth
Lindsey: I'm sensing some talent up in here
Fiona: I wanna go to this casino they have Lindsey: YEAH i know Fiona: These girls just poppin out of nowhere, like, i wanna go there
Lindsey: Sounds like my dreams Fiona: MMMMM
Rachel: This is great Hugo: I love this! Rachel: Me too!
Hugo: They're all hiding behind the table Rachel: It's fine
Rachel: It's almost jazz
Khanh: I thought it was like, kind of a lot at first? But Kevin: MAAAAAAAN
Kevin: Throwback r&b funk aaaaHHHHHHHH Khanh: [saying smth i cant hear over kevin] I like this
Khanh: That bari sax though WHAT UP oh yeah
Khanh: I live for playing licks like that
Davis: I mean, I'm gonna let Kevin mostly talk about those chords but...
Davis: I'm still kinda [something i cant understand sorry] that was pretty ...
Davis: That was easily the least expected they could've done to begin this song
Davis: And like, the vibe is still going, like this electronic jazz? Is so good
Stephen: One thing I like: how atleast the dance moves were almost staccato because of the groove going on
Stephen: Kinda like hard hitting
Naoki: The dancing was staccato Stephen: NO It just looked like
Peyton: Wow she- WOW WHERE'D SHE COME FROM???
Davis: Yeah how was she behind him and we did not see her
Kevin: It's like they established tonic and then they do whatever the hell they want over it
Khanh: Yeah pretty much, I mean
Kevin: I mean within an R&B jazz
Peyton: Oh be careful with that trumpet baby please
Peyton: oH- WHERE ARE THEY COMING FROM????
Davis: Probably the same place their valves are Peyton: Yeah
Peyton: Cause there's no valves
Peyton: They're comin out of nowhere Davis: these trumpets don't have valves on...ha hA
Jarod: Cause like, you have the electronic and you have the raw instrumentals so it's this organic fusion-y techno... i dont know
Katie: This was not what I was expecting also the dance moves really reflect this well because they're all so tight
Katie: And it's not sloppy at all, same with the groove, it's very compact and together,
K: But laid back still
Kevin: Has the whole video been- have I just been noticing how long the take is?
Khanh: Ummmmmmmm Kevin: MAN we gotta go back Khanh: No there was a cut I'm pretty sure
Khanh: There were a few cuts but
Khanh: HOLY CRAP this is really long
Fiona: I kinda wish they changed the color of their voice a little bit
Fiona: Like they're full on singing the whole time
Fiona: There isn't a lot of ~soft~
Kevin: The last cut was when he threw the card Khanh: Alright Kevin: And then it's been one take ever since
Davis: Wow
Peyton: Oh moRE trumpet solo
Henry: WOAH
Henry: Hell yeah, that was also a real saxophone Emiel: Oh, thats the word
Emiel: This song is grungy
Stephen: Also I love that tenor sax solo in the background
Stephen: That was tasty
Stephen: Got those blues licks baby
Davis: Oh my god, what are these voicings, they're just so cool sounding
Stephen: I mean the vocal line is super intense and difficult but
Stephen: The song isn't super arranged Naoki: It's also really high
Naoki: I can't sing that high
Fiona: I like how the song is kinda.. it's not too fast. It's a good pace
Fiona: A good walking pace song Lindsey: Adagio
Rachel: The way they're singing when they're not doing that harmony part is very different
Hugo: And I like but then it also brings it when they come back to the harmony Rachel: YEah
Rachel: They can adapt
Naoki: Is this filmed all in one take?
Umu: Yeah
Naoki: That's NUTS
Rachel: It's mixed so well Hugo: It is mixed Rachel: I would listen to that one riff
Hugo: All the time Rachel: For a while
Kevin: MAN Khanh: WOAH
KhanH: WOW
Jarod: I like- Katie: That was a really cool
Katie: Collaboration between many different mediums of art
Henry: As a group, that has.. that started back when kpop was at its, like
Henry: At least in terms of our understanding of it as Americans
H: At it's conception in terms of breaking on an international scale or a global scale
H: If they're for- if they're forerunners of that, if they're the people who were first involved with that
H: Early 00's kpop sound, and have now come into these more modern sounds
H: They have aged incredibly well
H: They maintain a lot of ..
H: What seems to me to be essential kpop staples
H: But they have been able to adapt to modern trends and sounds and tropes and aren't off-putting about it all the time
H: There are things that I didn't quite like, but I feel like as a group that has a lot of history in this market
H: They're killing the game
Umu: What'd you think of that overall musically?
Katie: Extremely interesting, again I don't feel justice actually trying to analyze it just because I don't know that much about jazz theory
K: But it sounded really tight, like Jarod said the hits were really awesome
K: I liked the vocals in the beginning, it was very barber shop quartet-y? But like
Katie: Hip?
Katie: .. Barbershop?
K: And I loved the use of the horns and the bari, it was really cool
Jarod: Those were pretty awesome and I think what's really cool in the vocals
Jarod: I think I got this right in the sense that they're using major seventh instead of using a typically like
J: Flat seven, which tends to be jazzy
J: You can also be jazzy in the sense of raising that because it's not traditional, and you get this cool major-ish texture
J: I think that's how they achieved this really cool sound
Khanh: it was like.. a really typically kind of R&B funk idiom
Khanh: With staying on tonic Kevin: But
Kevin: But those vocal harmonizations, I've never heard that in a kpop song
Kevin: Maybe it's because I don't listen to it enough R&B but for me this is like, this is the best of kpop level
Khanh: iv-V-I, it's really simple stuff Kevin: It is very simple, it is iv-V-I Khanh: It's three chords
Khanh: It's three chords, it's a bunch of sweet horn licks, you know
Khanh: Throw some blues scales stuff in there Kevin: But you compare this with that one twelve-bar blues song that we listened to
Khanh: And it's really interesting what makes that so frustrating and this so good
Khanh: i think it's important to know, but this progression is meant to be sung over
Khanh: And it works for R&B tunes, and in addition
Khanh: Write the preogression isn't as repetitive, it's got a lot more choral simp- well
Khanh: No, they both just have 3 chords, but the thing is Kevin: This one's got all the extensions
Khanh: And the twelve-bar is like I-I-I-I-iv-iv-I-I-V-iv-I-I
Khanh: This is I-iv-V Kevin: You caught that, guys???
Khanh: Yeah, it's like I-iv-V, I-iv-V, I-iv-V
Khanh: And in addition, the R&B as a
Khanh: Genre is not as heavily reliant on improvisation
Khanh: Melodic improvisation Kevin: As jazz
Khanh: You throw a couple of hot licks in there, those trumpet and sax solos, those one bar solos
Khanh: Those were good
Rachel: GREAT this is one of the better ones I think, that I've listened to
Rachel: I really liked it Hugo: It was super bluesy, super jazzy Rachel: A lot of jazz
Rachel: Like Michael Buble meets Take Five meets Bruno Mars Hugo: Yeah there was definitely that one section in particular, that one verse where he was doing the runs down and out
Hugo: I was like "okay bruno mars, Okay"
Rachel: James Dean- wait what that was his name right
Rachel: James Dean? Who does Bruno Mars dance like
Rachel: I think it's James Dean
Rachel: Or I'm an idiot
Hugo: There was also, you're right, that one guy had his voice more edited but they also put some overdrive on it, which I kinda liked
Rachel: Which kinda made it sound like the other guy. So for blending purposes, probably smart.
Lindsey: I really liked, especially the, grit that they got out of the trumpet sound
Lindsey: You could really tell that it was legit
Fiona: LEGIT GRIT Lindsey: And the grit in their voices
Lindsey: It all just really matched Fiona: It was all one texture though
Lindsey: Which I think kinda worked? But that's one think that they could've done more with
Fiona: There wasn't a lot of variation, it was very
Fiona: IT's a lot of good wawawawaa, but I wanted wooOOOOOOOooO Lindsey: There wasn't even like really a bridge
Fiona: It was all the same Lindsey: It could've used a
Fiona: It was smooth peanut butter, there were no peanuts.. it was not crunchy peanut butter, this was SMOOTH JIFF
Fiona: But it was good Jiff
Naoki: So it's a love song pretty much Stephen: Yeah, pretty much
Umu: I'd say, like, 90% of kpop songs are love songs
Naoki: But that's kinda weird how Stephen: I've been getting that vibe
Naoki: But it's kinda weird how they use that style in a love song
Naoki: Like, it wasn't a cheesy love song at all, it was, like, different
Stephen: It was crunchy- I don't know, it's just laid back, it kinda had that, like I was mentioning before
Stephen: Hip hop-gospel vibe where they'll have a lot of horns and they'll be a larger band
Stephen: I dunno I mean, the line, or the vocal line, was ridiculous and they were able to sing really high, but as far as, like
S: Nothing necessarily really stood out to me in the song, it just kinda sounded the same since it was just
Naoki: I wouldn't have guessed that it was a good love song though
Davis: I thought it was really good, like I said, the electric jazz vibe thing is not something that's easily done or pulled off in the music world
Davis: And we've seen it done some interesting ways already, before. But I thought they did a really cool
Davis: Thing with it
Peyton: If it was like, a liiiiiitle more bass
Davis: Actually, yeah, I didn't actually think about it until you said, but now that I- that's not very memorable in this last one, I could've used some more too
Peyton: Yeah because that's really a huge characteristic of that sound
Peyton: And the bass part was pretty cool, it was moving a good bit, but if it was little more, like
P: Dirtier I guess?
P: Like if they had a real hip bass player playing with them, not that like, who was playing with them wasn't hip, but ilke
P: I seemed like he was just like, "I'm just gonna lay down these notes and just let the boys be The Boys" but you know
P: I think it would've really added a lot if he was like [bass playing]
P: [more bass playing]
P: Like something like that, you know?
Davis: Yeah that would be cool
U: How'd you feel the whole music video, the dancing, and the cinematography matched with the song?
Katie: Extremely well, it was all really classy, it wasn't sloppy at all, every dance was completely in sync
Katie: And it matched the beat, which honestly, is essential to music like that
Kevin: I mean... come on man
Kevin: Casino stuff
Khanh: I mean R&B isn't necessarily connected to casinos or funk or anything like that Kevin: That's true
Khanh: I doesn't necessarily connect to the casinos
Kevin: But it sounds classy, i think
Khanh: The only thing about the music that fits the visual
Khanh: Is the way that the camera transitions
Kh: They all line up with the form
Khanh: Really well
Kh: You know, everytime the bars turn around, there's a transition
Kh: UH there we go, you know
Khanh: They're focusing on that and gonna move nowwwwwww here Kevin: Oh okay
Kh: So I mean, that makes- and I've noticed that with a lot of the music videos that we've been listening to
Kh: The ones that really fit have all the cuts like right on the form
Davis: I thought that it really supported the visuals, you know, I thought their choreography really lined up with the music
D: So it was like hits physically and it represented it really well
D: And then also, you know, it's jazz music so you get some of those classic jazz dancin moves
D: That people like that see
Peyton: Yeah while watching the dance I was thinking, they spend a lot of time in front of the mirror in the studio
Davis: they had to have worked really hard on that, it looked super good though, so
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