Cloud: That’s so jazzy that (sings) Henry: You’re like actually listening to the music Henry: And I’m like, “Whoa, look at this… this HOT BOY!” Nick: Taemin…isn’t he from something? Umu: Yes!
Nick: What’s he from? Umu: A boy group…
Nick: Which is called? Umu: Shhhhhhhhhhhhiiiiiii Nick: Nee!! Umu: *goes in for a dramatic high-five* Nick: We missed!! Noooo no!
Aaron: wowww N: give me another one
Aaron: Whoa that was so bad…I just witnessed that.
(U: wait I need to like- *success* look at your elbow) Umu: So now you’re reacting to the solo artist Taemin, who is actually the main dancer and lead vocalist from the boy group SHINee. You’ll be reacting to his performance video of his 2016 realease called ‘Drip Drop’. This song compares a lover to a drop of water and how the rain becomes an ocean for Taemin to explore. This song was composed by Jamil ‘digi’ Chammas, Jonathan Perkins, Michael Jiminez, Sara Forsberg, Tay Jasper, Leven Kali, and Paul Thompson aka ‘MARZ’ Aaron: Why are you turning it down??
Nick: So I can hear you!
Umu: So you can hear each other! Aaron: Oh 3…2…1! Nick: I thought you were going for a high five… Henry: Where’d they film this? This is sick. Elizabeth: Yeah, I have no idea actually.
Henry: It’s like big desert time. Elizabeth: I also I like this sort of mechanical whirring, like getting up. Henry: Whoa, dude. Nick: It’s a drop of water! Aaron: Ooh, that sounded wet. Nick: It sounded moist. Aaron: Oh I like that! Nick: I love his jacket. Aaron: I like a good use of silence, as you know. James: Ugh…Jesus. Brianna: Ohhhh… Elizabeth: This is so interesting because the percussion part of it like usually I would think of it as being low like bass drum, but it’s all like high tamborine clicking. Henry: Oohhh Henry: Ohh ooh that’s interesting!
Cloud: There’s so much going on! Henry: Oh my god Stephen: That’s cool! Yeah Man, these effects are really cool, not gonna lie
Seiji: Yeah Seiji: It’s cool how it’s almost like replacing the drop—
Stephen: Also this part’s really cool too! Stephen: I’ll talk about it later, I just got excited. Isaac: Okay there it is
Kevin: And I think the syncopations through the cutoff Kevin: And the percussion. So the cutoff of the chord in the percussion, that’s really interesting. Kevin: Wow. Oooh And this feels so satisfying, when we finally arrive back. Elizabeth: I actually think that the synthesized instruments, I think it fits the vibe. I know that you like acoustic stuff but you get the (singing) effect which I think is
Henry: Oh, yeah They’re talking about water and dripping and it just kind of fits that soundscape that they’re building Henry: Yeah, hold on a minute. Henry: It’s different with both of these on. Both: Oooooohhhhh Stephen: That was sick! And the dance was really cool. The choreography is really dope! James: Those octaves too They either sampled his voice and put it an octave up or it may be a female voice, I’m not sure Kevin: Ooh Such a good chord major-minor B flat whatever it’s called James: Oh! Brianna: He said, “I has range!” James: He belted that, he straight up belted that. James: Boy’s getting his pants dirty, oh my god. Oh— Brianna: Ah—
James: Ohh HE JUST GROUNDED INTO THE GROUND! Oh, wow Cloud: Oooh
Henry: I’m just too absorbed by his sexy dance moves Cloud: That’s so jazzy that (sings) Henry: You’re like actually listening to the music and I’m like, “Whoa, look at this HOT BOY!” Cloud: Look at that foot shuffle! “Look at this hot boy!” XD Henry: Aw that’s classy, oh that was so cool…oh my gosh
Cloud: And then you end on a high hat. Cloud: There was so much going on… Cloud: Like I wanted to have my ear out to talk to you
Henry: Yeah I want to listen to that again. Cloud: but at the same time I was like, “No” because there’s stuff happening in both ears Henry: Yeah yeah I need to listen to everything Elizabeth: There’s a lot of human voices but kind of excerpted and jumbled and distorted so they sound more percussive There was a woman’s voice you know in the first chorus which was singing little bits, right? And that’s something a lot of composers have dabbled with too like if you listen to like Stockhausen
Henry: Yeah, yes! Elizabeth: He did a lot of stuff like that. Henry: Manipulation of tape, that stuff was cool!
Elizabeth: Yeah yeah yeah Elizabeth: That’s what that reminds me o.f You definitely get the water effect, I think just from the—yeah yeah
Henry: You hear the little drips and drops that are synthesized. Elizabeth: When they’re singing ‘Drip Drop’ it’s a descending kind of melodic fragment
Henry: It’s constructed that way. Text painting, we love to talk about it but it’s a thing! Isaac: It was a peak and valley kind of song. Even within that it was just still very pleasant to listen to because that’s the thing with, I guess emulating nature sounds, it’s just…there’s something soothing about it because— I guess a philosophical approach is the sublime, you’re seeing something that’s bigger than you, or something more complex than you. For me, I felt that a little bit. It’s just like “Wow, something as a drop of water can be so interesting” And then yeah—it’s those arpeggios climbing up, to build adrenaline to climb up to the climax but it wasn’t—again, it’s still not a peak and valley but that doesn’t mean it’s not interesting The dance was cool! I can’t do that so pfffttt Kevin: I felt the peaks and valleys, in not a volume way, because the volume kind of stays the same throughout But I found the contrast between the syncopated fast wing section and the more even boom-bap -boom-bap beat I found there were some peaks and valleys with that They were both climactic in their own way Like the syncopation is obviously very frenetic but then some of the chord textures are a little more cutout are not as lush, but yeah so that’s the benefit of the boom-bap section where the lush chords come in and there’s a wash of sound That’s what—I agree with the “sublime” aspect of what you’re talking about because I feel that the production here is quite sublime and yet it does give a weird liquid feeling i thought this was actually more of a journey than maybe you thought, you know? Isaac: Yeah Kevin: It definitely had a little bit of that Hollister/H&M vibe for sure But I thought the rhythmic games that it was playing in the textural/timbre-al games were all really great “timbre-al” I don’t think that’s a word but I just said it Umu: So, what were the moments you wanted to talk about? Stephen: Yeah, so what’s really cool is the first time when they have the first verse and you have him going like, “Drip drop” like the vocal line is super staccato and that’s really awesome because all the textures in instrumental music that’s backing him up is juxtaposed against that, so it’s like and it’s all very legato and much more smooth and flowing And THEN after the first chorus they flip it So, then if you notice, all the accompanying music and textures and stuff now they’re all staccato and instead the vocal line he’s doing is much more legato and flowing I thought it was a really cool compositional technique I don’t know it like— it makes it sound different even though they’re just using the same material and changing it a little bit, I really dug that Seiji: Yeah, what he said Cloud: That was cool, that was a whole adventure I honestly—I wasn’t sure if it was in the faster timbre or the slower timbre until they started doing the snaps because they would do one two three four towards the end
Henry: Yeah Cloud: But then in the beginning I was like, “Is this like one-two-three-four-one-two-three-four” Henry: No, I get you
Cloud: Because the dancing really fast and I was like I don’t know…if she’s really fast or they’re just like sub dividing a ton Henry: I didn’t get so much water afterwards though The water was like at the start
Cloud: They started doing the snaps instead of the water droplets Henry: Ohhhhh
Cloud: Or maybe water droplets just sound like snaps but Cloud: Because in the beginning it was very like duh that’s water But towards the end it almost sounded like Umu: Cool, well you’ll be comparing ‘Drip Drop’ to his b-side song called ‘Mystery Lover’ which was released on the same album as ‘Drip Drop’ in 2016
Aaron: Ooh, spooky! In this song, Taemin is singing to a woman he hasn’t met yet. The song is about his anticipation for meeting this woman and realizing his fantasies. The song was composed by Adrian McKinnon, Mark Q. Rankin, and Ryan S. Jhun. James: Ooh Nice chromatic very creepy music box feel Henry: Layering, I like the layering Cloud: It’s like we’re adding loops on top of each other Henry: Oh!
Cloud: I like that Kevin: Okay, so we have synth string… but yet it does give me that cinematic orchestral quality Isaac: G! He hit a G! Kevin: Yep, there it is!
Isaac: Yeah!! Isaac: A? Kevin: Yep Henry: Aw Those vocals! Excuse me, Cloud. Henry: Oh that’s rich let me turn that up Cloud: Ha ha ha we don’t need to talk Aaron: It’s like gospel, in a way. Nick: It’s a little like ‘Phantom of the Opera’ in a weird way.
Aaron: Yeah Nick: That’s what it is, it’s like halfway between each of those Kevin: I like the games, he it’s the G a little early this time A a little early too It’s like, “We’ve hit these high notes, now we’re just going to play around with them.” Cloud: I love how the harmonies move outwards
Henry: Yes yes Henry: The descending, let’s say ostinato the repeated baby’s first glockenspiel line It’s really nice and that outlines the harmony, it’s great. Henry: Aw Brianna: Do you hear their swells? (sings) Just how they taper each note the sincerity in each chord
James: Yeah Isaac: Okay, we’re in a different section now! Kevin: It’s just very intense modal mixture It didn’t quite modulate, I thought they modulated C minor but it didn’t stay there for long Henry: Ooh Henry: Plays B flat major doesn’t use it as an augmented six to five, just goes directly back to D Sick! James: Whoa
Brianna: Oh god James: He’s good, he’s real good
Brianna: That was good Nick: Yeah it’s a little bit like one of those chaconnes, where you just have the repeating little harmonic thing over and over again
Aaron: Yeah and really closed off on top of it so it opens him up for like whatever he wants to do on top of these progressions Elizabeth: I like that there’s so much use of vocals in it I think that really—if we’re talking about haunting vibe Henry: That adds to it
Elizabeth: They add it yeah yeah yeah James: He’s bad…in a good way He’s baaaad Brianna: He said, “So you think I can just dance?” I’ll prove you wrong.
James: Wrong, wrong! Henry: That’s a cool—is that it? That is it. It just ends, no downbeat Cloud: Could you feel Cloud: This whole thing was like, “Woman I haven’t met yet, fantasy, mysterious” Like…man James: It was everything I wish I had in ‘Drip Drop’ Brianna: Yeah, that was the main problem I had with ‘Drip Drop’ It was mainly focused on the dancing so he would have some good vocal parts but this was just all him all harmonies all riffs
James: Yeah It was amazing! James: Not even just like talking just harmony and riffs, harmonized riffs Like thats…like it… it sounds so stupidly simple but that that’s really hard to do Brianna: Yeah
James: When you come up with the riff Oh I’m gonna harmonize the riff because why the f*** not?! You know, that’s like really really special Brianna: And it’s not even just the harmony it was the dynamic contrast and the swells and the musicality put into each note it was so much more advanced than that other song James: And the swells really brought out the parts that needed to be brought out Brianna: He pushed those suspensions and just came off of it which is what you’re supposed to do and the way he would do that I was just like, “yes!” I needed her I needed to resolve Elizabeth: I like this guy! I like that he’s playing with instrumentation and playing with like Henry: I dig Taemin, yeah repetition and playing with like the percussive elements of things I mean, I’m a fan of harmonic pattern harmonic looping I really like harmonic looping which is it was basically the same chord progression the whole time the same piano arpeggiation going the whole time but I think the interesting part when you have something repetitive through the whole song is like the development of you know the lyrics the intention the singer the intensity of it you know and I think when we got all of the voices layered as they started adding in and in I think that was really effective Umu: Do you guys like ‘Drip Drop’ or ‘Mystery Lover’ better? Henry: I think ‘Drip Drop’ only because I just felt like sonically it was…so satisfying I mean it’s like, they mastered imaging there were sounds that felt like they were coming from back here that’s cool! that’s sick! Henry: ‘Drip Drop’ or ‘Mystery Lover’? Cloud: I like ‘Drip Drop’ The second one it gave you like a bit more time to get used to everything because it like kind of looped them and then it would add as it looped so my ear was adjusting to each thing as it came in versus like ‘Drip Drop’ it was like “Here you go, here you go, here you go!” Henry: New thing, new thing, new thing
Cloud: I was like, “ahhhhhhh” It’s all happening at the same time Henry: And you like that a lot? Cloud: I feel like ‘Drip Drop’ I could listen to like five times and each time pick out something new that I hadn’t heard before. Henry: Really? I agree, I could listen to that five times and pick out something new. But I feel like I could listen to ‘Mystery Woman’ (Lover) five times and and love it each time for exactly what I’ve heard each time. I mean, I’d probably pick something new out of it too but I don’t know. Maybe it’s because I’m really hungry and I’m just thinking of butter and baguettes now. But I really, really liked it. I’m a sucker. Umu: You know, this is really interesting. These comparings People who listen to the vocals, harmonies, and phrasing really like the second one more and think the first one is boring and then the people who listen to rhythms love the first one and don’t care for the second one Stephen: Yeah, I thought the first one was way better this one is still good and powerful Seiji: It’s [‘Drip Drop’] just so much more exciting. I think the second one, as someone who learned all that stuff from church gigs I guess that part of it is kind of interesting, like the harmonization stuff. Very colorful, very lush, and also very dark because it’s minor so it’s gonna be. And getting through the flat six major chords and like the dominant chords, it’s really cool. But, yeahI gotta say the rhythm in the first one is just so cool Stephen: Yeah, it’s really cool! Henry: Oh my god the balance on those vocals are like butter! Cloud: Can you, can you cut through them? Henry: Dude with like an entire freaking baguette Yeah it’s so soft just Umu: *laughs hysterically behind the camera*