Classical & Jazz Musicians React: (G)I-DLE 'Oh my god'

Liam: OHOHOHOOO! Rachel: AAaAAaRGH! [Rossini's Semiramide Overture playing] Umu: And the first one is 'Oh my god', right? Sam: Uhhhh... yes. By Giddle. Umu: No! "Hi guys, we are-" Kevin: *plays G* I-dle. *Umu, Kevin & Owen laughing* Umu: Oh my god. Oh my god, we're getting to this song so late but right before we jump in we wanted to let you know we were able to film and edit this video thanks to 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. Alright, enough stalling already, let's get to the reaction! You are now reaction to the girl group (여자)아이들 aka (G)I-dle and their title track 'Oh my god' off of their 2020 'I Trust' album. The message that they hope to give th

rough this album is "I realize that I have to believe in myself through the bumps against reality as I experience emotions of rejection, confusion, recognition and dignity. I trust just believing in yourself can make you stand out." The title track 'Oh my god' represents the theme of "I believe in me" aka self-trust. When it comes to the lyrics of 'Oh my god', they sing: "Oh my god, she showed me all the stars" and it leaves viewers wondering to whom they are referring, to themselves, to the per

sonification of love itself, or a woman. Soyeon says that she will leave it to the fans to interpret, she said: "I didn't want to limit that 'she' to a certain being or a certain definition, so it's up to anything. I believe that all kinds of love are valuable and must be respected." "She's got a point. She's an icon, she's a legend." Umu: This song is composed by Bicksancho (Yummy Tone) and the leader of (G)I-dle, Soyeon. Stephanie: Yummy Tone, I love that. Raffi: *casual vocal flex* [t/n: Raff

i how you do that?] . . . Raffi&Sam: 3 2 1 Stephanie: Woah. Rachel: I know this song. Liam: OH. MY. GOD. Liam: That mix is so good. Raffi: Also the stilettos. Work it, girl. Sam: Oh, you hear those harmonies, Sam: vocal harmonies in the back that descend? Kevin: *Singing melody*, Doctor Who theme right there! Owen: Or prelude in E minor. Kevin: Mm. Liam: Got the kind of reggaeton feel here. Kevin: Uh, I like that percussion, and I normally... don't like that percussion. Liam: OHOHOHOOO! Rachel:

AAaAAaRGH! Liam: GODDAMN! Jory: They committed, that's sick. Will: I really love those different voices of the vocals. (Jory: Yeah) Liam: This is so much more subdued, it's really nice contrast. Jason: I love the bass and how the bass is playing with the offbeat piano groove. It's really nice. Liam: Mm? A little swing? Jory: Oho. Gnja. [t/n: How do I even sub this?] Jason: And then the snare, making this a very Latin inspired groove. *mimics percussion* OH?! Rachel: Oh it's so good. Liam: Pfffff

ffff. Goddamn. Jory: Yeah, that's great sound design. Kevin: It's been a long time since I've heard a half-drop, like a half tempo drop that's this committed to it. Will: Oh, that background vocals... (Jory: Yeah) Kevin: Also this is supposed to be the bridge but it's the same style as the verses, it's really refreshing. Sam: Oh? Raffi: ASMR! Leon: It's so scary, oh my god. Stephanie: Wow, that's scary, yeah. Wow. Will: They put the two beats on top of each other! Jory: Did they really? Will: Th

e *mimics Latin-style beat* gets on top of the trap. Jory: Oh sh*t! Kevin: This music video is so great. Jason: Oooh! Jason: What they're doing to her voice! Ju Young: It's like *wiewiewiew* Jason: It's like... Ju Young: The waves, if we visualize the waves, Ju Young: it's so close to like- Jason: There's like a gradient on it. Ju Young: THAT'S IT!!? Ju Young: Wow, wait, what? Jason: That ended really fast. Liam: That was crazy! That was so good! Rachel: So good! It's mixed so well... Liam: Yeah

. That was the first thing that I noticed. Rachel: Number 1, like, it is mixed SO well. Rachel: It like automatically pulls you in at the beginning cuz it's just this like really interesting atmosphere that we were kinda talking about cuz it comes back at the end, right? It's like... almost demonic, and then like the chime sounds... Rachel: It's just like this whole like story in a song, Liam: It's otherworldly. Rachel: yeah, it's otherworldly. Ju Young: This is a beautiful music video. Jason: I

t gives you like a very sensual eeriness (Ju Young: Yyyeah?) Jason: cuz it's very like skin and... blood and lips and... Jason: gooey maple syrup and just weird. (Ju Young: I don't know, I don't think-) Ju Young: I don't think this is like sexual... Jason: No, not sexual, sensual. Ju Young: OoHh! Jason: Cuz it has to do with a lot of body and motion and... all that stuff that she's doing, like crawling, all this weird stuff, but also creepy as sh*t. Ju Young: I kind of feel like I went through a

sinful religious experience... Jason: Yes! YES! Jason: That's kind of what it's like. Ju Young: With like the deep bass too. Jason: It's almost like 'The Rite of Spring'! Like the choreography in 'The Rite of Spring' where it's like a, cuz it's a very weird, what is it like, they make the youngest virgin dance until death. And like a lot of the choreography with all the people surrounding and doing all these interesting motions that reminded me of the choreography for 'The Rite of Spring'. Owen

: Well this feels like it has a religious and sexual energy with it because of the "oh my god" I saw this interesting interview with Carlos Santana, he talked about, in his solos, that he has two main moods when he plays guitar, one is like this sort of spiritual, larger than you can conceive and sort of universal way of playing: another one is like a sexual sort of: And he says those both converge in the phrase "oh my god" in terms of like "oh my god" and then "oh my god" at the point of... com

pletion, for euphemism's sake, and I feel like this song kind of plays with that idea in terms of that like religious heightened, sort of like pious, and then this, from a religious perspective, base and beastly sort of thing. Kevin: Their portrayal of religion has, there is a lot of sin as well, you know, like I mean the image of the wine being poured is like okay, wine obviously is supposed to be the blood of Jesus Christ but it's also wine, it's also pleasure of the kind that probably isn't r

eally condoned in religion, so yeah, there is a lot of duality, and yet the music is so simple, and yet the music supports it so well! Owen: Yeah, it's a good song. Jory: It's such like a... almost Gothic hook, they really committed to it and then the rest of the song was nowhere near that vibe so it was like really interesting, getting thrown into that and then pulled right back out of it, it was pretty sick, pretty well done. I wish the verses were a little less cutesy, maybe. The vocal produc

tion was crazy, like everybody dropped in and out and then like layered it, and it was really cool in the chorus and then just kind of like: "Oh, we don't get any more of that? Okay." Will: I liked the two, I didn't have any qualms with switching between... Jory: ...qualms... Will: ...with switching between the two different vibes, I thought it was super effective, actually, to- it makes the chorus like really stand out (Jory: That's true) and like the trap beat comes in and it's that darker sou

nd. The chords are interesting because - like they're kinda simple, but it's the same progression between the verses and the pre-chorus but it's like offset, and then the dominant chord became just a minor chord, but it's like, the root note was all the same. And I think it was the same in the chorus too. (Jory: Ah, I didn't notice that.) It kind of added to that contrast. Will: So yeah, so the chord progression is like: E minor G Cmaj7 and then a, I think a B7. And then it suddenly changes just

a little bit. So that's the same thing but offset, it starts in a different place, starts on the Cmaj7, then it goes to B minor instead of dominant, and then E (minor) and then to G again. So that's the same thing but it starts in a different place and then changes the dominant chord, and so it's like a really subtle change, like the tonality is still all the same, but it just like adds that extra little bit of like difference to make that section separate. Kevin: I mean moments that stood out

were like at the beginning there was like a minor ninth leap, *vocalizes* which also reminds me of the Doctor Who theme, cuz it's in the same key and then the other moment that was cool was how the very first chorus we hear a fully diminished "oh my god" where it doesn't even sound like a blues note anymore because she doesn't slide up to the 5, so it's just a diminished chord, or a broken diminished chord, and then the future times they do emphasize the 5, so it's "oh my god" [with slides] and

I like that they're really flexing their voice and playing with that a lot. There's also the 1-4-5~slide~, which I like, they're exploring their range, the music is doing its half-time thing that just feels so committed to it cuz their vocal lines are long, it's not just some instrumental thing when everyone is doing a dance break, you know, there is a vocal correlation with why they're doing the half-time. If any other song would do a half-time this long and this repetitively, I would not have

liked it, but here it works so well and I like the mood change every single time. Rachel: The chorus is just so good, like the drop into the chorus... Oh my god... Oh my god! The silence on four into that drop and then just like the biggest bass of all time... (Liam: BOOOM!) Liam: Oh my god. Leon: What I like the most is the chorus, the chorus is just... unbelievable. It's super catchy, the *vocalizes* like all diatonic and then all quarter notes, but the simplicity is what we can all remember.

Oh, the bass! Stephanie: Yes, yeah! Leon: The bass is super killing! Leon: All the composers, arrangers, and the producers, mixing engineers, they are all like... together. Like sometimes when I listen to a song they feel separated, but this one, when the melody comes out the arranger will just like: "Okay, I'll back it off, I'll just play a bass" and the mixing engineer knows like: "Okay. Yeah. This one is the melody. So I'll put here like a fat bass and keep the simplicity" And the producer wo

uld be like: "Yeah, you're right!" Liam: And like it's beautiful in its simplicity too, cuz like the chord progression doesn't really change all that much (Rachel: No, it's the same.) and it's fairly simple. Somehow they still created like a really interesting soundscape. Like this just sound freakin' pristine, (Rachel: Yeah) like it's SO good. Umu: And the first one is 'Oh my god', right? Sam: Uhhhh... yes. By Giddle. Raffi: Oh oh. Umu: By Giddle? Sam: By Giddle. Umu: By Giddle? Raffi: (G)I-DLE

! Umu: Yes. . . . Sam: No, I know it's (G)I-dle, I was just... Umu: Ah, okay, hahaha... Sam: I was just being quirky and funny.