Fiona: Jingle Bells! It's such an easy way to winterfy it. Lindsey: To make it sound wintery. Winterfy!
Fiona: I'm not mad, cuz I love it!
It's just so easy.
Lindsey: Now we got like a winter rave.
Umu: You'll be now reacting to F(x)'s release called 'Wish List'.
It was part of their company's 2015 winter project called 'Winter Garden', where most of their artists released winter-related songs.
This song is written by LDN noise and Adrian McKinnon.
Lindsey: Three, two, one.
Lindsey: Whoa
They're building chords.
Melissa: I love the staggered entrances. James: Yeah Melissa: Like (singing). I love it.
James: It's very a capella, almost. Melissa: Exactly. James: Yeah
Melissa: It reminds me of like pentatonics or something.
Lindsey: they got the Jingle Bells going too Fiona: Amber!
Fiona: Jingle bells! It's such an easy way to winterfy it. Lindsey: To make it sound wintery. Winterfy!
Fiona: I'm not mad, cuz I love it!
It's just so easy.
Lindsey: Now we got like a winter rave.
Charlotte: This is like Jazzercise music. Peyton: It really is.
Peyton: And one and two and work it out, and yes, girls, work it!
Collin: It's like Santa is raving. This is funny.
This is cute. I like how they're doing, like interesting things with the background, with the beat, like there's that boom, boom, boom.
James: Yeah, um, hmm.
Kevin: Oh, my gosh, it's just bouncing between the F and the A flats.
Isaac: Yes!
Fiona: Super cool voice. Lindsey: Oh, that was to the tune of 'Jingle Bells'!
Fiona: Da, da, da, da, da.. Lindsey: That was so cute!
Fiona: Yeah! You're right! Lindsey: Ho, ho!
Charlotte: Nice half time feel, with some sleigh bells. Peyton: Um, hmm.
Kevin: Oh, my gosh, they put a four in that minor chord, just to make it extra spicy.
Collin: They keep doubling the voices.
Jarod: It gets kind of a cool effect. Collin. Yeah, no, it works.
Jarod: And they've got, correct me if I was wrong, but I think I heard some kind of cool dissonances.
James: I love that little synth harmonized
Both: Aaah!
James: That was really nice. Melissa: Yeah
Their voices blend with the synth so much.
Charlotte: They really just like suspensions and chromaticism. That's what I'm getting.
Isaac: (singing)
Kevin: Oh, yeah! Isaac: Whoa, chromaticism! Kevin: Tritone stuff.
That was more compy.
Every time it's different.
That one's most consonant.
Swing, swing, good, bip, swing.
Isaac: Ohhh
Kevin: Oh
Oh
Oh!
Collin: This is really interesting, how this is constructed.
Like listen for the rave-like bump.
Jarod: Okay Collin: That's like the spine of this whole passage, and everything else is just kind of like
Jarod: Weaved around that. Collin: There. Yeah, yeah, yeah.
And it's produced from it. Bum, bum. The rhythm's weird.
Jarod: (singing) Collin: Yeah, but it's not that. Jarod: Yeah
Collin: It's like off beat. It's syncopated. The bum, bum...
Yeah, it ends with like a couple sixteenth notes.
Isaac: (singing)
Both: Waah!!
Isaac: Yes! Amber, and the rest of the gang is.. Kevin: Oh, my God, stop!
Isaac: Dude, Amber's just killin'.
Beginning sounded like 'Mr. Sandman'.
Kevin: Yes, it did. Isaac: because of the way the a capella "da, da, da, da"... Kevin: The voices stacked up.
Isaac: It was very interesting the way they weave around chromaticism, just whoosh!
I don't know, that one was like, it definitely gave it the feel of like, Christmas spirit. You have like the bells
chiming in the back. It's like it goes from Christmas song and straight into house.
The transition is only through the synthetic sound file that just like climbs up. Unlike other songs, where it's like, oh,
this is house music, Kevin: Yeah
you would have the beats double up in the pre-chorus, Kevin: Uh, huh Isaac: but this one, just this one sound file, climbing up and
then, boom, boom! And then, all of a sudden we're in house. Kevin: It's a wonderful fusion of so many genres
Isaac: Um, hmm. Kevin: You know, again,
this is why you gotta give K-pop wintery Christmas songs a chance, cuz there's a lot of interesting stuff going on.
That being said, I'm guessing the majority of them are still just really, rather generic Christmas-sounding stuff,
but like, it's definitely worth digging into, so do it.
James: Well, I liked how they ended it like they started it.
Well, not really. How they started it with those staggered entrances was like a nod
Melissa: Yeah
James: to like, a capella, even though there was synth stuff going on in the background Melissa: Right
James: but then the end was actually a capella. Melissa: What if it was like all a capella? That would have been so lit.
The whole song. James: It would have been interesting.
If they had one bass, who was just like beatboxing and doing like bass lines. James: I like this better though,
because I think they they were able to add
multiple different layers and multiple different elements. And actually it's really nice to have the little screen
there, showing us who's singing when, not because I couldn't tell, but actually because all of their voices are very
distinct, and they all have--at least I could hear--like they had different tonal qualities, and like some warmth
differences in all of their voices, and I thought that was really nice.
I think they're all great singers. At one point
one of them was like belting, kind of like, Melissa: Yeah James: really, really, like high up in her chest, and it was really, really,
really awesome. Melissa: Like loud and powerful in the and then everyone else is like *sings in an airy tone*
James: And I also appreciate that it's a Christmas holiday song,
but it's different than most traditional holiday songs, in that it almost had like a boppy kind of like club,
dance song type feel. Melissa: Christmas in the club. Can we write a song? James Yes! Yes, it's a cool idea.
Especially like, and it was mostly that middle section with the fast four, Melissa: Yeah James: and then they would have little sections where it slowed down
and we went into two
like little interludes, but over all, I thought that aspect was really nice, too.
Charlotte: Chromaticism. What did I say? Peyton: (singing)
Charlitte: Chromaticism and suspensions. The whole opening--bunch of suspensions, resolve; suspension, resaolve. It's just like Mozart. Mozart does it like cray-cray.
Peyton: So in short,
K-pop is Mozart.
Thank you.
Jarod: I liked Amber's voice.There's something about it that's just like, whoo! Collin: Did she have the orange shirt?
Jarod: It was the one on the far left.
Not that one, no, that's Victoria.
Collin: I liked Luna's voice.
Hers is pink.
Jarod: I think probably Amber's, I don't know,
maybe when I first heard it, it just came in, I don't know if her voice was necessarily lower, but like it definitely wasn't like that
Jarod: (high-pitched singing) Collin: I was about to say, well, the voices were darker,
overall. Jarod: Yes, and I liked that. Collin: Which is atypical, Jarod: It had a little bit more depth.
Collin: at least, from what we've been listening to, I guess.
Jarod: Yeah Collin: Yeah, how they constructed the chorus was really cool, because there was that rhythmic thing. It was like that rounds-like,
punching. I mean, it's like what you hear at a rave, like, dun, dun, dun. I don't know the rhythm!
That makes me angry, cuz it was like, it kept...it's weird. It was weird.
But what was cool is that like, that acted as the backbone, and then everything else was on top of this.
Jarod: Would you say it was like,
(singing 'Fascinating Rhythm')
Collin: What?! Yeah, it was actually kind of a fascinating rhythm. That was like
a wash of sound, and it worked really well. And also, they had a descending line in the chorus
that was almost like bent. It was just like,
(singing)
And those are not the pitches, but like that almost,
that helped with the forward motion of the phrase, and it's like, dude, it reminded me of Christmas.
That's good songwriting. Like seriously. I'm impressed. That's was cool.
Hello, everyone, I'm Umu, and I'm the channel runner of React to the K.
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