Jory: Nice.
[Rossini's Semiramide Overture playing]
Umu: Before we fall into forever love with Dreamcatcher
we wanted to let you know we were able to film and edit this video
thanks to the support we get from our Patreon.
Since we are unable to monetize any
of our react videos uploaded to this channel,
it is our Patreon that provides us the funding
to continue making our channel bigger and better.
We have a lot of interesting and exclusive content
uploaded to our Patreon, which includes
uncut reactions to this song,
reactions to Japanese releases,
live stages, games and more.
We hope everyone has a happy Halloween
and let's get this reaction started.
You are now reacting to the 7 member girl group Dreamcatcher
and their 2021 release 'BEcause',
in celebration of Halloween spookiness!
Sam: Spooky scary...
Raffi: Boo!
. . .
Sam: Wuaah!
Stephanie: Let's see, wait...
Stephanie: How am I gonna do this? Umu: Do you need help?
Stephanie: Yeah, maybe. Umu: For your headphones, maybe?
Stephanie: Oh yeah.
*Sorting out*
Stephanie: Oh shoot, this is so funny!
Wait, wow! (Umu: Wow!)
I'm a unicorn!!!
'BEcause's' lyrical theme is about
when love becomes dark and obsessive.
Dreamcatcher sing about trying to become
the perfect person that their crush would fall for
in hopes of being with them forever.
But when their crush points out that they're acting creepy
and threatens to reject them,
they calmly reply with "they know that they are being creepy"
and they aren't worried because
"a different voice of mine will call out to you instead."
Cloud: Noo! NOO!
Owen: So it's like: "It's fine because I know that I'm being creepy" (Kevin: This is very strange.)
Owen: "I'm sorry I'm playing bad in my lesson,
at least I know I'm being bad."
Umu: This leads us to the doppelgänger concept of the music video
inspired by the horror movie 'Us'.
Kevin: "Di-dam-" wait, ah!
*hurrying*
Gosh!
*Plays 'I Got 5 on It' by Luniz*
Umu: I'm guessing that's the soundtrack?
Kevin: Yes. Owen: Nice.
Umu: Fun fact, the reason why BE is capitalized in the title
is because BE (悲) means "Sadness" in Chinese.
Leon: Oh yeah.
Umu: Yeah! So you can interpret this song in two different ways,
you can interpret that their love is
what is driving them to become obsessive
and the other one is that
it's their desperation to escape their sadness
that is making them become obsessive with their crush.
The song is composed by Ollounder and Leez.
Liam: Wow, so much symbolism in this. In the deep lore... (Umu: Yes!)
Rachel: Don't change yourself for no man.
Rachel: Don't do it. Liam: Damn straight.
Umu: Yeah.
Jory: Alright. Hm~
Shall we, as the kids say, esgetit?
Umu: Esgetit! Will: Esgetit?
Jory: Esgetit! Yeah. Umu: You got it? Okay, great.
Jory: Alright, 3 2 1!
Kevin: Okay, fits the spooky. Owen: I like it, it's fun.
Sam: Oh, this does sound like a- Liam: like an anime opening.
Sam: That's a really good hook.
Raffi: It is, I'm already singing it.
Liam: It's a really tight groove.
Henry: You hear that piano, is that a piano?
Cloud: Mhm.
Henry: I like how it doubles the rhythm.
Liam: Ooooo~
Liam: I like what's going on with the rhythm there.
Jason: I like the extra harmonies, the lower harmonies going on,
the layering.
*grooving intensifies*
Ju Young: They broke it down.
Jason: That genre switched fast.
Owen: Nice. It's a good drop.
Kevin: It keeps sort of a music box quality
but...
Owen: Mm, the pizz certainly helps. Kevin: ...while not directly using a music box tone.
Jory: Nice.
Henry: Oh wow, they're layering on that first verse motif,
that's... clever.
Sam: It's like- OH!
Will: Hm~ Jory: Oh!
Will: A little drum&bass section?
Ju Young: Wah?
Kevin: Ha, little Psycho. Yeah. Owen: Psycho.
Liam: I like how the drums kinda sounded like far away in that section.
Ju Young: There's a lot of layers going on! Um...
*Overwhelmed*
Sam: WOW
Rachel: The bass, man. [t/n: Bass performed by Ollounder]
Liam: Oh, dude, the guitar sounds they add in there?! [t/n: Guitar also by Ollounder]
It rocks!
*Sound of satisfaction*
Jory: Is that Für Elise? Kevin: That is Für Elise right there. // Liam: Is it quoting Für Elise?
*Kevin & Liam vocalizing quote*
Jason: And there is voices singing along with that,
like synth, in the back.
I think that adds such a harmonious, humanistic quality to this song.
*Shook by melody*
Henry: Ah. Cloud: Hm~
Will: The clock ticking sound effect?
Stephanie: Mmm, I like this melody.
Jory: I love that raised 6. Will: Oh, major 6, yeah.
Herny: Oh, that flip, register flip? Mm, beautiful!
Stephanie: Ooooh!
Oooouuuuhh?
Leon: Ah!
Ju Young: What a phat piano sound!
Will: Oh! Jory: Ah!
Liam: Oh yeah!
Frickin' scream that!
[t/n: 'Scream', haha.]
Henry: Hm, that's some shouting.
Jory: 'Cuz I /LOVE/ you. Mmmm
We just got upgraded.
Liam: Ohhhhhh~
Rachel: I loved that. Liam: That was so nice.
Henry: That was so densely packed with...
...yeah.
Cloud: They've got such a great sound.
Like even listening you're like "Oh yeah, I know who this is."
Will: I like the justhaposis- j-
the juxtaposition of the rock guitar sound
and then like a trap beat kinda vibe,
but then it would like switch up a lot,
I mean in like classic kinda K-pop vibe of, you know,
there's probably 5 or 6 different distinct genres within the one song
and it's like, every eight bars is like:
"Oh, what is it gonna do next (x2)?"
and so you've had like an actual hard rock section
and then it's like the guitar thing keeps going
and then there's like a trap beat that comes in
and then it's like chill, like almost lo-fi piano sound,
for that pre-chorus part [I think he's referring to the verse - Umu]
Liam: The pre-chorus is like super traditional kinda
heavy rock metal drum set sounds with like the big China cymbals.
Once you get into the chorus it's like super produced,
really crisp, clean drum sounds,
I don't know exactly what they are,
but it's like a super tight hi-hat, super punchy snare,
and there's not a lot of depth to the bass
but it kinda lends itself to the lighter quality of that chorus.
These are really distinct tonal changes that are very pronounced.
Henry: Especially that rap verse where they put in that like
straight up Initial D like nightcore *mimics percussion*,
was a nice way to pick up the pace into a rap verse.
Rachel: How do you describe that?
It sounds kind of like trashy, almost, but
not like in a bad way, it's-
oh, I love the synth, "biew biew"
Will: That part is sick. *Jory doing crazy mouth percussion*
Jory: DnB is like one of my favorite drum grooves ever,
and they juxtaposed it here with like the 4-on-the-floor kick,
in the punk sections (Will: Yeah), and also like the more pop sections,
but like the *mimics percussion*
it's a pretty sparse kick pattern
so it kinda like drops the bottom out while still being exciting.
Sam: I think one of the songs really big strengths
is its atmosphere cuz in order to create the illusion
that you're scaring your audience, so to speak,
or you're paying homage to those kind of scarier sounds,
you have to be very convincing in your atmosphere,
and sort of how you do that
is by making your song really dense without sounding cluttered.
And I think how they did that is they were able to,
first of all, if you notice the drums,
there were times when it was like a very like *mimics*
an then in the chorus it was like *demonstrates*,
it was twice as slow,
and then after that it was kinda mixed
and it went back into the *mimics*, back into the double time,
which I thought was really interesting,
because it allowed us to kind of feel different beat groupings,
so it allows us to be like: "Oh, this is picking up momentum,
this is picking up momentum and now we're feeling a different kind of pocket"
which I though was really cool.
I also thought the instrumentation was really interesting,
Raffi touched on the glockenspiel,
and touched on- I think there was- [The instruments sound similar... My $s on the celesta as the one used in this song -Umu]
cuz it was out of left field enough so that way it sounded creepy, [The instruments sound similar... My $s on the celesta as the one used in this song -Umu]
which I really enjoyed.
And also the distortion on the guitars was REALLY good,
it just was so interesting to hear those two sounds collide in this song
and I just enjoyed it quite a bit.
Stephanie: That was some serious spookiness.
*Umu cracking up*
Umu: YOU ARE SO ADORABLE!!!
Stephanie: Hahaha, oh my god!
It's kind of like a struggle though.
Umu: What was spooky about it?
Stephanie: Hmm... the chimes. (Leon: Yeah) Yeah.
And also like that *vocalizes*,
that melody sounds spooky, why is that?
*vocalizes* - oh.
Minor.
Leon: I think it's more about the instrument.
Stephanie: Probably that too. Leon: Yeah.
Leon: I don't know why people just use that instrument
so many times to represent "spooky".
It all starts with the Tchaikovsky... that one...
Nutcracker!!!
And then John Williams used it in Harry Potter
to represent kinda like spookiness,
so probably they used it too.
Henry: They had a lot of really good horror catchphrases,
there was the like *screech screech*,
like horror strings, I don't know where it's from (Cloud: They had a little "Scree scree")
yeah, that's what I mean, the "scree scree",
they had the music box-y dollhouse-y torture sound...
Umu: Torture?!?!?
Henry: And what else am I thinking of?
Cloud: Did they have any outstanding tritones that we might have missed?
*TRITONE*
Cloud: If I was gonna make a spooky sound, I'd just be like
"TRITONE TRITONE" like over and over again.
Henry: The closest I can think of is in that melody:
starts from
would kinda be tritone-y, but it's not really accentuating it.
What I like though is, that motif you hear at the very beginning,
you hear it through a bunch of different instruments
and it sneaks its way into like
a couple of the choruses and pre-choruses as well
in different instrumentations,
Cloud: They had a lot of instrumentation trade-offs which I like, Henry: Because they have - they did,
Cloud: where it just flows in the different timbres Henry: and I thought that was-
Cloud: and I'm like: "Oh, wow!"
Henry: It wasn't the main melody each time
but the second half of the chorus it is,
and they had the vocal singing that motif,
but you have heard it before, and it feels like it gets elevated,
they are layering it so that your attention gets drawn to it
more and more, gradually.
There was like a triplet thing in there!
I think I missed it, I talked over it.
(Rachel: Yeah) Liam: Yeah right there,
there is that really satisfying, almost diminution of the rhythm,
so she starts in a 1-2-3-4 triplet -
wait, shoot, I got to hear that again, sorry.
Rachel: Does she keep it in triplet feel? She does, right?
Rachel: Oh no, she doesn't, okay, yeah.
*Liam demonstrating*
Liam: So it goes: Triplet - 2 - da - dada.
Rachel & Liam: Yeah.
Rachel: Triplets... make everything better. Liam: We love triplets!
Rachel: Okay, let's keep...
Liam: I love this! No, this like breakdown section,
where it just goes into the half-time, like super heavy,
and then the buildup, like they go into that double-time feel again,
like it just speeds up into the drop.
*Imitating drop*
Henry: Oh, what a great drop.
Another I liked about accenting the BE of BEcause is
they give a bit of space
and they use that contour to leave that room out
so you have to wait in this...
Liam: It's so satisfying. Rachel: Oh wait, it does the drop like right on the eighth, too:
*Demonstrates*
Umu: Is that why it's so satisfying and hits so hard? Rachel: Yeah, it's really satisfying,
cuz sometimes I feel like it, like the "wooowow sound"...
Liam: Like it's just too much space?
Rachel: Yeah, if there's too much space.
Rachel: But they literally did like... Liam: Yeah, it makes it super punchy.
Rachel: Yeah.
*Liam imitating drop*, yeah.
Yeah, with just the higher synth sounds.
Jason: *Vocalizing*, I like that-
yup!
*Both singing Für Elise*
Jason: BEETHOVEN!
There is a haunting quality [with] Für Elise,
with the half step, *sings*,
there's like a very haunting, dreary quality,
using that half step to lead into this minor arpeggiation,
it's thunderous, it's very tumultuous, like it's very...
it's like Beethoven.
Kevin: First time I heard it I thought it was okay,
the second time I heard it I was instantly like:
"Oh no, this doesn't really work"
cuz... yeah, I don't know why,
Owen: The A♯ was just kinda out of place,
Owen: it felt weird. Kevin: The A♯ was a little bit there,
Kevin: and yeah, it felt like it was just trying to squeeze it in,
it didn't gel with the rest of the melody, at all.
And the reason it worked for me the first time is probably
because I wasn't listening to the melody as carefully,
and I'm just like: "Was that Für Elise?"
And the second time was:
"That was Für Elise, oh, I don't think that worked as well."
So it was, you know, first time reaction sort of thing.
Jason: And apparently, I don't know if this is true, but
he wrote the piece for...
I think he wrote it for... (Ju Young: For Elise)
Jason: Yeah, for Elise, I think it was for a student named Elise,
Umu: Yes, but also it might have been... (Jason: but something happened where she...)
Kevin: ...Therese.
Kevin: There is a chance that Beethoven's handwriting was too sloppy
so whoever read it as Elise might have read it wrong.
Evidence suggests that it's for a student of his, named Therese.
And he is constantly in love with his students,
it's like his whole thing,
and like propose to them and everything.
In fact the Moonlight Sonata was written for a student
that he wanted to propose to and everything,
but hey I guess it creates good music sometimes cuz
like Für Elise is fine...
but it's no Moonlight Sonata.
Umu: I wonder if the producers knew that
because they know that this song is about loving
and being obsessed with someone and doing stuff for them
so they would fall for you,
so that's maybe why they chose Für Elise?
Kevin: That could be it.
You know, now that we discussed it...
if that is the reason I do like the usage of it a little more.
Jason: See? See, now that's the thing, is like,
Beethoven tried to be the perfect self
and then she was like "no", so then his evil side came out,
his doppelgänger came out and said:
"F#%k you, I'm gonna make a really really hard piece!"
and he went:
...
so... come on Elise...
thank you for dumping him because we got good music out of it.
Umu: What was your favorite section of the song and why?
Jason: Beethoven!
...
No, my favorite section was the bridge, let us see why.
Jason: That. *Both vocalizing*
*dolphin scream*
Jason: I can do this.
Ju Young: It just sounds like it's going to major there.
Umu: But what chord is major?
Ju Young: Argh! Let me dig!
*dolphin scream no 2*
Ju Young: So this is in E minor...
Umu: This is a race to see who can figure it out.
Ju Young: Is it raised...
6?
So it's mixolydian?
Am I close?
Please tell me I'm close!
Guys...
Ju Young: It's a raised 6... Jason: Now the crazy thing.
Ju Young: DORIAN! It's DORIAN!
Umu: Wooooow!!! // Ju Young: It's f#%king dorian! Jason: Wait, she got it? She got it?
Umu: She got it! Jason: Wait, one second.
Ju Young: Cuz there's a raised 6!
Dorian is a minor scale with a raised 6, y'all.
Jason: So it goes:
[Cmaj7] [t/n: no guarantee on chords :)]
[Bm7]
[Em, but here the melody hits D to C♯ (minor 7 to raised 6)]
[A(add9) - again with C♯, this makes it dorian]
Jason: AARGH! That's so good.
Leon: Oh yeah, that part, the bridge,
it kind of brightened up a little bit
cuz everything is so dark, it's just natural minor,
and then suddenly it goes to dorian, that feels kind of good.
Owen: Also they were adding like more tertiary harmonies
on top of the chords that they were doing before. (Umu: What are tertiary harmonies, Owen?)
Owen: Well, chords are build out of thirds,
mainly, in western practice, so you have one-
okay, fine.
Umu: HAHAHAHA!!!
Owen: You have - it's in E?
[E-G-B-D]
and they add a nine on top, an F(♯), so
[E-F♯]
and that just sounds kinda nice
because two fifths on top of each other, [E-B-F♯]
which sounds nice.
Jory: What fruit is that?
Umu: Apple.
Jory: That's an apple? Umu: Mhm.
Jory: Hah, I'm allergic. Umu: OH NO!