Umu: Now you’re reacting to the five-member boy group SHINee and a b-side off of their second album Lucifer. In the lyrics, the members are complaining about a girls whose moods are constantly changing One minute she’s feeling up and then suddenly she’s feeling down Isaac: *Katy Perry* “you’re hot then you’re cold” Umu and Isaac: “You’re yes and then no” Isaac: “You’re in and you’re out” Umu: But she’s so pretty they’re willing to put up with her emotional rollercoaster
Isaac: “You’re up and you’re down” Isaac: What? Kevin: God you can’t, you can’t- watch out!
Isaac: no no Kevin: It’s a trap, it’s a trap Umu: Yeah this song is composed by WiiDope and the lyrics are co-written by the member Jonghyun the member of Minho and the songwriter misfit Fiona: 3 2 1 Fiona: I love this beginning though.
Daniel: It’s really strange Fiona: It’s so happy and like singsong-y… playful like in the schoolyard you’re holding hands. Daniel: Yeah. Daniel: oH Elizabeth: Are we getting the orchestral hit in there?
Henry: Oh, yeah, but it really sounds like it really sounds like Windows Vista like error Henry: *dying* You know what I’m talking about? Melissa: So now it’s like it’s like really smooth and like lyrical, I would say legato but earlier it was like very like Like what’s the word like detached and maybe yeah, like like this and maybe that’s like her mood swings, bro You know like sometimes she feels like legato and sometimes she feels staccato happens to everyone Cloud: In a way, this is like the coolest thing ever because it’s like they sampled a million different songs, and then found a way to match it up cohesively, (H: yeah) but at the same time I’m like Cloud: w-what the- Stephen: It reminds me of something Insync would do or Backstreet Boys, Seiji: yeah, but somehow the synths are still really good Stephen: Yeah,
Seiji: and like pretty modern sounding. I don’t know how Seiji: but… Stephen: It definitely like I feel like it’s the chord progression It’s a chord progression that Britney Spears would use but like for a boy band (S: hehehe) like that kind of like sort of minor-esk, you know… i dunno Fiona: This part’s more like *bops*
Daniel: It feels like acapella tiering the harmony you know like uh-huh, you know what I mean? Fiona: *sings* Daniel: Yeah, exactly Fiona: I love this part Isaac: *Imitating synth* wutuwutuwutuwutu Kevin: that’s a 2015 rap break very different Melissa: Bro the instrumentation of the section’s crazy, like there’s not really a beat it he’s like rapping. (J:Yeah,) like what? There’s like one cello note and like a little tweet sounding thing Isaac: boop Isaac: Do you hear that? *tries to mimick* now it’s gone but Henry: What what the hell… what was that? That’s good Nick: It ends up kind of feeling like they’re using silence in a really cool way (A:Yeah) just cuz all of the all the things that we’re expecting. Aron: Yeah, it’s like the absence of Certain elements. Daniel: I love how they added the rap on top of the the thing-
Fiona: original thing.
Daniel: Yeah Daniel: It’s kind of like a few. You know what I mean? Fiona: There’s just more and more and it’s like
Daniel: well not really here Fiona: You could take that Kevin: That’s so many voices combined together like singing separate things Henry: oh and the little Henry: *vague gestures* R&Bs.. Henry: Autotune? Cloud: They’ve had the going in the background this whole time Henry: It’s a- oh gosh Nick: It’s also interesting they’re using like auto-tune like really prominently in one or two of these voices Oh, I’d wear it all those sorry there’s an ad But they’re using autotune like really really a lot in one or two these voices in the middle of the harmonies which is another like really classic 2010 thing with a T-pain it ends up sounding really cool though to hear that in the middle of voices that are less processed digitally Aron: Yeah, exactly. Exactly. It gives like a platform for certain voices to stand out I don’t know their hierarchy if they have like a lead singer, but they all seem to like mix together well Melissa: Retro auto-tune is like vintage now
James: that was interesting Melissa: you go to an antique store. You see some auto-tune and you’re like, yeah, man James: Back in the day back when I was a little kid. There’s a nice blast from the past. I would say (M:yeah) just in that I think the music at that time was like really starting to get a little funky like that whole James: *singing* It was like, I don’t know what words those were but it certainly Sounded like kind of out there and just like the the melody of whatever that was. It’s just kind of like Okay, and they’d add layers on to it to kind of build the song. Yeah Melissa: It reminds me of like Renaissance music that’s based on chant. So like when they like state the chant like, you know one voice like one one line one note at a time and then like everybody comes in with like some polyphony and Then they like go back to chant later for like a line or two and then end fluffy It’s like the same thing. Cloud: I want to let go back and like listen to it
Henry: find all the little things Cloud: There’s like little things like at the bottom of the like chorus wherever that just like sneaked in and they And then would be gone I’d be like did I just did they just what I’ve been like later like it was almost like like that foreshadowing like Cloud: We’re gonna do it Umu: WASN’T. THAT. LIIIIIIIIT?! Cloud: I was so confused for so much of that song Henry: I am really confused Cloud: I was sOOo confused Henry: It was well done though, I gotta say like they put a lot of cool sounds together Cloud: it was like a stampling thing. It was like I took like a whole array of song. I went to the song buffet and I just like Sampled like everything just like it’s very up and down Henry: yeah
Cloud: Like we are…. Cloud: it was like we’re like happy little like a little kid show like that
Umu: OHHH Cloud: You gotta like go go go Cloud: Are we like hip hopping or in the kitchen baking Henry: well to that vein it is very effective I think the two big things vocally that stood out to me the Third’s that I said seemed to sound way more open I think we’re open because the lower part of the third I Think it’s like scale degree six and scale degree one like La and do. The lower one was in whichever singers chest voice which was very full sound and the higher one I think was in someone’s head voice or falsetto. it was a lot More floaty and I think just off of the Tambres it Sounded like it was way more open than it actually was being just a third second vocal thing that I noticed what I think kind of bothered me about not just the glockenspiel and the Go-go was also there’s a vocal line doubling it the whole time that Like the kids song like and that’s how the song starts right? But they’re they’re singing it in a fully supported head slash- at like a mix more head voice, but it’s Cloud: Whatever James called it that one time Henry: It’s very full and supports You can share a bit of resonance a bit of vibrato in there as opposed to like a really light More evocative of a child’s voice kind of timbre which I think would have fit with a glockenspiel sound But they didn’t they didn’t go for that. They went for a Fuller bodied adult sound with that glockenspiel which for me was kind of a little unsettling a little stark But it’s so freakin much I couldn’t like I had to I had to decide to like listen to other things to within the music that made it more interesting It kind of became Background structure to the song. Isaac: THIS IS SO GOOD Isaac: IT’S SO GOOD Kevin: I’m such a fan of it
Isaac: That rap no, Kevin: it’s alright. It’s almost so bad. It’s good But I think it’s actually good Isaac: I have to agree with I just the rap It’s just losses momentum there,
Kevin: but it’s so good, Isaac: but he redeems itself later because they add I don’t know There’s a rap. I don’t know if they consider a rap, but it just sounded like a rap. That’s the way to do it but man, I guess it’s that oh, there’s nothing there and then they give you something even better later so… Oh my goodness Kevin: what a weird song… Kevin: It has a lot of influences but like it does become something like by the end that usher Flo Rida feeling because I don’t have the Kevin: *sings* That’s only in the verse yeah so near the end it kind of does shine and become its own thing to shine.
Isaac: Shinees Fiona: I really like the original theme Their voices sounded like plucked string instruments Daniel: yeah, I like how they structured almost the entire piece around that one motive and then they have like these rap sections and near the End we see at the recap where all of those elements line up and they stack on each other. I thought it was there was great use of syncopation in silence and anticipation and all those things and then I don’t know yeah, very characteristic of a certain time that was Fiona: Best Daniel: I thought it was really effective Stephen: cool.
Seiji: That’s interesting I can’t really remember what 2010 really sounded like I don’t remember it necessarily sounding like that though. So it’s kind of interesting Umu: You said you had something in the beginning you wanted to talk about Stephen: Yeah, it was really cool about how all of the articulations for All of like the rhythmic hits that they were doing. They’re all very strong. They were all very pointed They’re all also like staccato. There wasn’t a whole lot of lovato or anything like that or sustain thing going on Changes as the song progress but they still kept that overall effect. It made the pulse have a little bit more weight to it Which was good for a tempo like that, you know, oh also man That like bass synth thing that they got going on the end. Stephen: whOOOOOA That was sick. I approve Daniel: How am I sweating oh my god where’s my water. hydration or die-dration am I right?