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Classical Musicians React: NCT 127 ‘Interlude: Regular to Irregular’

Classical Musicians React: NCT 127 ‘Interlude: Regular to Irregular’

Melissa: I would..whoa!
James: Yikes! That’s cool. Umu: This is NCT. Oh boy, oh boy, oh boy, oh boy!
Melissa: Non chord tone, 127. Umu: Well, you’re gonna get lots of non chord tones. Oops, spoilers!
Melissa: Wow, circle every non chord tone. James: Eww.
Melissa: Take a shot for ever non chord tone.
James: No, stop. Oh, my God! Jordan: So now you’re reacting to a b-side track from NCT’s 2018 ‘Regular to Irregular’ album. Elizabeth: Why are those men prettier than I am? What the hell? This piece is composed by Hitchhiker and Kim Kyung-min. This track, called ‘Regular to Irregular’: ‘Interlude’, begins as spoken word over the music of NCT 2018 yearbook number one. Umu: And the four members, Jungwoo in Korean, Yuta in Japanese, WINWIN in Chinese, and Johnny in English, discuss dreams.
Seiji: Yuta? Japanese guy?
Umu: Yeah! Jordan: And the music switches from tranquil to discordant as the song transitions from the album’s themes of ‘Regular to Irregular’, exploring the concepts of dreams and reality.
Fiona: Tres, dos, uno. Elizabeth: Nice repeated piano note. That feels very like movie music, when something dramatic happens. Isaac: This is Eric Satie.
Kevin: Exactly. It’s like Gymnopédie No. 50. Melissa: Yeah, he really is just speaking. But like, so softly. Henry: Wow, his piano playing is very nice. Elizabeth: That mic must have been so close.
Henry: It’s very hot. He was very clear. You can could hear the sound of his mouth.
Elizabeth: The noise in the back of his throat, yeah. Henry: I kind of like, love that, actually.
Elizabeth: No, no, I like it. It feels very intimate, when you can hear sounds like that. Stephen: aww!
Seiji: Pretty good translation, yeah. Melissa: Is this in three? I think it’s in three. That’s cool. That’s new. Stephen: I mean, not your standard. K-pop song, for sure. Like, I was expecting like a giant synth pad and something to just like, you know, start pounding four on the floor.
Seiji: Waiting for the beat drop. Maybe it’ll happen still. Isaac: Those shakes, though. Uh, uh, uh, uh.
Kevin: I just love the freedom. There’s like no restrictions. Melissa: Like, I know it’s not waltz-like at all, but like, it feels like it is. Like, you can move to that. Woo! Low voice. Lindsey: Their voices are all very calming, also. Fiona: Their resonance that, with which they sing, their resonant voices, like it comes through in their speaking voices. Jarod: This is so interesting. Melissa: That’s from that one poem. James: Ooh!
Melissa: Have you read that poem?
James: Ooh! Half steps. Collin: I actually really like this. Jarod: I really like this cuz it takes like, the slight rhythmic feel that they had earlier
and kind of like, the rhythm is still there, but obviously the sound is distorted into like, this.
Collin: it’s gone Stephen: Well, there’s that beat.
Seiji: Yeah, so I guess we were right about the drop. We did get the drop. Elizabeth: This is Stockhausen!!WAIT! Henry: It’s also the same progression, but recorded backwards.The keyboard playing the same thing underneath, it’s the same ??????? material. Melissa: Whoa! James: Yikes! That’s cool. This is very dreamlike, it’s like that crazy dream that you have sometimes, where just like, the world’s exploding and things are melting, and you’re like, oh, my God! Jarod: Wait, is this it?
Collin: What? That’s actually sick. Whoa! Jarod: Okay, I…
Collin: Shh, shh, wait, it’s gonna- Oh, never mind. Jarod: I actually really like that. That was cool, because it’s this whole dream concept of regular and irregular. So it’s like, it opens up with this like, you know, really smooth, goopy, sustains It was very well paced, but there was like a lot of nuance in the playing of the instruments. Like it seemed to just like slide. It just felt like really, it wasn’t like a… It was very relaxed, and it was like very in time, but at the same time it really seemed to stretch like they were in no hurry. Like it was really cool, because it creates like that nebulous dreamscape that one might think of when thinking of a dream, and then it was cool, cuz like he was like speaking on top of over it. So it kind of added to that kind of atmosphere. Collin: It sounds like poetry–Jack Kerouac. He’d do that. He loved jazz, so he would Like there’d be a jazz band behind him, and because he was famous and he was a good poet, he would just like read his poetry and they would improvise in according to what was happening in the poetry.
Jarod: That’s awesome. Collin: So it is a little bit like that, yeah. I thought the most valuable thing though, was actually the contrast. At first I didn’t like how they were developing, and I was like no, don’t see what I think, cuz I thought it was about to become like this stereotypical like, club beat, Jarod: Right.
Collin: and it was like no, you’ve done something actually really interesting, but then they ended it. And it was like, what?! Jarod: Yeah! I think that’s what I really liked about it, because this track is called ‘Interlude’, so it kind of serves a greater function in the album.
Collin: Yeah. Melissa: That was crazy.
James: I really liked the use of like four different languages, and the message that it was at least communicating to me was like, yes, we’re all dreaming about these different things, but we’re all able to communicate in our own ways about these dreams and even though we’re from different cultures and we speak different languages, we all kind of share this collective kind of experience with like, dreams and what they mean to us. I thought that was really nice. It was kind of like, oh, made me want to cry a little bit. Melissa: Aww!
James:Yeah, it was really nice.
Melissa: Oh, James! And I loved the duality of like the cello and the violin kind of playing together, and I noticed the first time they came in together was when one of the guys was talking about, in his dream, like, you were with me, or like you were there. He was like talking about someone else.
Melissa: Ooh! Text painting!
James: Like a lady of some kind, or a man, you know, who knows? But I just thought that was really nice, and that part at the end was really interesting, too.
Melissa: That was lit! James: It was spooky. Isaac: What the heck was that? So we went from Eric Satie, and then we had a nice cello solo, and a very nervous violin, but it came out fine.
Kevin: Mm, hmm. Kevin: Became nervous.
Isaac: Then in the whole like, lavender town. What the heck was that? Why? I think it does symbolize what they’re transitioning. It’s like, from regular to irregular, so you have very nice and simple dashing melodies, and then later it’s just like, very rough. Kevin: (speaking Chinese)
Isaac: Oh, gosh! Kevin: I think this song is very creative. Isaac: Mmm. Umu: Can you explain in further detail what Satie and the violet… Isaac: Well, I was referencing to his gynmonsympathy
Kevin: Gymnopédie
Isaac: Gymnopédie Kevin: There you go. Here, piano time! Kevin: Do you know this piece? It’s a pretty, little, simple piece by Eric Satie, who was a really weird composer. But every time you hear, it’s like a nearly waltz, but it’s just one two, one two, and it oscillates between two chords. That’s why this song’s connection to Gymnopédie is so strong. Because it starts by oscillating between two chords. Henry: Wow. I thought that was really cool. Elizabeth: Yeah, we were just talking about how if you’re gonna have very different sections, you have to have something that’s the same, and in this case, they actually took the material from the first section and just reversed it. So you still recognize all of the sounds, it was just, it felt weird because it was the other way around Henry: Well, and I didn’t even noticed it at first. Good music, you don’t notice when there is a single thread going through every single section. I mean that’s like the beauty of you know, like a piece like Brahms 4 or something like that. Where it like, you know, there’s just, there is something that keeps it all tied together. I think it’s…what? I think it’s great! Elizabeth: I’m not a Brahms person. Henry: You play horn. Elizabeth: Yeah, that’s why I’m not a Brahms person. Henry: I thought that’s why you would be a Brahms person. All right, Elizabeth: Learn every solo in B natural. Do you like transposing by a tritone? Aaagh! Henry: I think it was excellent. This piece. Stephen: I feel like this would be a really great track to put in between two other tracks in a CD. Seiji: Yeah, it’s a good interlude.
Umu: Yeah, that’s exactly what they did. They had around like four or five tracks under the ‘Regular’ section, and then they smash this one in the middle, and then the rest were under the ‘Irregular’ section. Stephen: That’s awesome. Wow.
Seiji: Yeah, it’s a great, it’s a story, and the harmony makes it like more crunchy, and it makes you kind of like get to the edge of your seat a little bit, and then you kind of feel angsty, and then like, whoo! And then you have that drop. Super cool. Stephen: Yeah, one thing I just thought of, its really nice, too, I feel like the music really reflects thematically what’s behind the song. Cuz I mean, I don’t know, I feel like when we all have dreams, sometimes they can be very simple, or almost naive, in a sense, and I feel like that’s reflected where it’s just like, oh, you know, you know, string quartet, just basic 3, 4 waltz. And then, I feel like, at least hearing this song from that interpretation, when you kind of see reality in how things aren’t always black and white but are more gray, I feel like that can be reflected in how all of a sudden they distort everything, which is really cool, by the way, whatever they did, whether or not they used a synthesizer, or used a combination of that, and like distorting the strings that you were hearing, you could hear how everything was kind of more murky, more unknown, which plays into you know, real life. Hello everyone. I’m Umu, and the channel runner of React to the K. I really hope you enjoyed watching this video, if you’re curious about the videos that we’ll be reacting to in the future, I put the links to a doc with our release schedule in the description. Last but not least, if you’d like to support our channel, you can help us out by pledging any amount you’d like on our Patreon. On Patreon you can get access to full unedited pair reaction playlists, reactions to Japanese releases, and much more. And of course, a huge shout out and thank you to our superstar patrons. Thank you so much for your support. Bye

Author Since: Mar 11, 2019

  1. omg at 5:50 he basically nailed nct 2018s concept on the head… like if we think abt the nctmentaries and how all they talked abt was communicating through dreams to communicate with each other

  2. Every time I hear Gymnopedie No.1 I think of Kurosaki-kun no Iinari ni Nante Naranai [aka The Black Devil and the White Prince] where Kento Nakajima covers Nana Komatsu's hand on the piano and teaches her how to play the treble clef portion of the song. lol.

  3. I’m in public and trying not to shit myself out of excitement, I’ve never listened to this before and HSJSJSJS GO NCT

  4. Thank you for doing this I was super curious what they would think. When i first heard it, I was like “are they trying to summon a devil this sounds terrifying” but now I just love this piece for what it js

  5. I really feel like sm is experimenting a lot with NCT musically. I have no idea you the members are but I'm always curious to discover their new songs. Tbf I feel like they are the only ones taking risks musically seaking.

  6. Umu, can you please listen to nct127 Back 2 U?? i think its really GREAT, and i want you to hear that too. Thankyouuu!!! Oh and i freaking love your channel!!!!!

  7. i don't know why, but just because of these whispers in reversed part it smells so ghibli for me does it make sense????????

  8. Winwin's part always makes me all choked up.
    edit : Omg I totally thought of Gymnopedie the first time I heard it, too!

  9. You need to listen to it forward and then listen to it backwards, it is so trippy and I actually am dying over here.

  10. i don't know if its just because I'm an idiot but the fact that he noticed the beat change was the same progression but recorded backwards my mind is blown music majors are geniuses

  11. I hope you let them listen to My Van after the interlude because it feels like the tempo continued to My Van. And My Van is an absolute masterpiece.

  12. This is an amazing song every time it comes on I turn it up. Just 1 tip don't listen to it at 3am unless you don't wonna sleep.

  13. you don't understand how much this made my day. people are beginning to appreciate nct's music outside of the kpop community.

  14. Omagaaa that's one of the best songs of NCT 127😍 I don't think I would have been able to make some conlusion/analysis as they did 😅 (and what they said was pretty relevant thoo) And yeaa who doesn't know Satie??? I hear Gymnopedie 1 every morning cause it's my alarm😌

  15. I love how they said "this piece" or "this track" instead of "this song". Musicians are so delicate in performing music and I felt like the amount of detail is placed in their everyday life by their talks too

  16. I feel like every time I comment on your videos it's to say the same thing but here we go again: Kevin, you are a precious, precious human being and you must be protected at all cost.

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