Classical & Jazz Musicians React: P1harmony 피원하모니 'L.O.Y.L.'

0:00 When that beat go.

0:14 It's a new dawn.

0:15 It's a new day.

0:16 And I'm feeling

0:20 good.

0:25 We love B1 Harmony.

0:27 Yes.

0:28 Enter description of song.

0:31 Reacting to the boy group P1 Harmony and their side track love of your life.

0:41 I like to pronounce it as and this is off of their 2026 EP unique.

0:46 Do you guys know what LOL Y stands for?

0:49 Lots of your uh losses cuz we're haters.

0:55 Lay all your love on me.

0:59 Lay all your love on me.

1:05 This song compares their role in a relationship to lightning striking.

1:10 I CANNOT CUT.

1:14 They're hard to lock down, but also one of a kind.

1:17 Love of your life.

1:18 The song is composed by Han Solo, Willie, Karen, Sona, Tim Tan,

1:23 Rhus Jun, and co-written by the P1 Harmony rappers Intak and Chong.

1:27 If you're hearing this right now,

1:28 that means this video isn't monetizable, nor is it sponsored.

1:31 Instead, this video is brought to you by you,

1:33 our YouTube members and supporters on Patreon.

1:36 Patreon and YouTube memberships are how viewers like you can support

1:39 our team and also gain access to tons of exclusive content.

1:44 Arizona sounds live.

1:48 I like having the the Pam.

1:51 Thank you so much to all of you who already support us.

1:54 We really couldn't keep doing this without you.

1:56 And now back to the video.

1:58 Everyone say hi Kho.

1:59 Hi Kho.

2:01 Fun fact, Kiho watched us before he joined Harmony.

2:04 Three, two, one.

2:09 Wow.

2:08 You can take my heart, but it won't be easy.

2:18 Is this in like seven?

2:21 Wait.

2:25 Wow.

2:25 Wait.

2:25 I know the What is the rhythm?

2:27 I love how the door sound.

2:31 What is it?

2:32 It's perform.

2:32 Yeah.

2:33 What?

2:36 Oh my god.

2:42 Oh, I love the doubling.

2:54 This is a different tempo.

2:57 You can't do this to me.

2:59 Know you want to tell when I'm okay hurts.

3:28 It's very like history of Japan.

3:31 Oh, okay.

3:31 I don't think this works.

3:33 It came back.

3:35 Oh, yes.

3:37 Oh my god.

3:38 Yes, man.

3:39 No.

3:43 I like how it's still major 7s,

3:44 but it sounds so distorted and the bass is like a whole different pitch.

3:49 Oh, a lot of distortion on there.

3:55 Oh my god.

3:58 some samba.

4:00 Oh, I think we're kind of

4:03 Oh, this is this is face.

4:09 Oh my god.

4:14 He gets me every time.

4:16 Every time.

4:17 This is crazy.

4:18 There's no pores now.

4:20 See, this snare is fat though.

4:21 It's a fat trap snare.

4:36 Did he write that?

4:37 I've got some UK garage.

4:40 Wow, that just like scratched my thing.

5:01 What is that snare sound?

5:03 Creepy.

5:04 It's like got this glitchy sound to it.

5:06 Yeah, it's cool.

5:11 Oh, so swaggy.

5:14 That destroyed my brain.

5:15 It destroyed my brain, too.

5:17 Wow.

5:18 Wow.

5:18 We like that.

5:19 We like that one.

5:25 Okay.

5:23 Oh my god, dude.

5:25 Yes, man.

5:27 This is this is like the the type of sporadicness

5:30 that I'm not looking for but like is appreciated.

5:34 Like I feel like some people are going to be like this is nice music.

5:37 I can't put a middle FINGER UP.

5:40 No you can't.

5:41 Is that what you were doing?

5:42 If you want to wait do I have to stand?

5:47 They're really good.

5:48 That's Kho by the way.

5:51 Yeah.

5:51 OH.

5:53 YES.

5:53 IT'S THAT GUY.

5:54 WAIT.

5:55 IS ISN'T HE TRENDING right now?

5:57 Isn't he trending right now?

5:59 Always the white wall.

6:02 He's always on Twitter doing something.

6:05 That was awesome.

6:08 Something just like went by like the whole song.

6:11 I was like there, I was there.

6:13 I was there.

6:13 I was there.

6:14 And then at the end I'm like already in the destination.

6:16 That beat in the beginning is so crazy.

6:18 I was like what the is going on?

6:19 So I thought the beginning was great.

6:21 I really like the drum and bass section.

6:23 Once it like settles in, I think it works, I think.

6:25 But initially, I was a little upset because I

6:27 wanted the resolution of the drum and bass buildup.

6:30 Okay.

6:30 Can we can we break down that rhythm real quick?

6:39 That's nice.

6:40 It's nice.

6:41 That's all I can say.

6:43 I'm kidding.

6:45 So, this this and this are identical.

6:46 And this is just the beginning of this, which is why it feels so offputting.

6:49 And every time it goes to that always

6:51 there's always an accent on that first one.

6:54 So it's it's accenting that that hemiola the three over

6:57 two 3 2 3 3 2 It's really offputting at first.

7:06 The only way we can tell where a new measure starts is where the chord changes.

7:10 Even though the beats add up to be four,

7:12 it is not technically in four because the beats are divided

7:16 in a way that you cannot feel it naturally in four.

7:19 For those who are watching uh the video right now,

7:21 Gumu is making gang signs behind the camera.

7:24 Count for me again.

7:25 Count for me.

7:26 Two.

7:26 Ready.

7:27 Three, two, two, three.

7:29 One, two, one, two, three, there was a little like red getting into this.

7:36 It wasn't just like Zubito slow tempo,

7:39 but it was a little red coming and then it grounded with the new slow tempo.

7:45 I was having hard time finding the hyper

7:47 meter first time around because the small beats

7:50 were different like changing the small beats like

7:53 eighth or 16th they were like playing around.

7:56 Yeah.

7:56 Yeah.

7:56 What what tempo do we get to in relation or is it relational at all?

8:02 That's good.

8:03 I think

8:04 close.

8:04 It's close.

8:04 It feels right though to me.

8:06 Why play the old tempo over the new tempo?

8:07 It's a 43.

8:08 Wait, what's this tempo?

8:09 175.

8:09 What's the new tempo?

8:10 This is 175.

8:12 Let me play it.

8:19 It's pretty damn close to D, which would be D and then half tempo that

8:33 magic modulation, but it it slows into it,

8:37 but it it does kind of hint at it with the with the chanting because

8:41 the chanting is da da da da da da and then that's your new tempo,

8:45 but it slows down into that temp.

8:46 It's so weird.

8:48 It's like a metric modulation that's like hinted at, but it's also a on though.

8:53 Can we listen to that first progression though?

8:55 So, what happens is so we go from like this C over B and then B minor over A.

9:05 Okay.

9:03 And then literally like F sharp minor 7 and then F major is like a nine.

9:13 That's different.

9:14 That's different.

9:16 That was C# sharp.

9:17 So was Oh, and there's an A in there.

9:19 It's not just It's not just C major 7.

9:22 Like a like it's like what?

9:23 Like a minor 9.

9:24 Yeah.

9:25 Yeah.

9:25 Yeah.

9:28 And then what happened just now was going into Yeah.

9:32 C C minor 7.

9:35 Cool.

9:36 When the vocals come in, they do that the first time and the second

9:39 time what they do is I think the same thing, but then they go E.

9:48 That's C major 7, D minor 7, F sharp minor 7, F major 7,

10:01 and then here we go to E.

10:03 Yeah, that's beautiful.

10:07 What I like about that intro is like the top note is

10:11 constantly sustaining while the bottom notes are moving uh in downwards motion.

10:15 So gradually they're adding notes to the chord.

10:18 Like it starts as a four note.

10:20 What was that?

10:20 So you have like a seventh and then

10:23 you have a seventh but with the root doubled.

10:26 And then you have a ninth and then you have the an 11th.

10:32 And so the chord just keeps getting bigger and bigger.

10:34 Do you have a favorite section more than others?

10:37 I like it when the whatever I did that one was samba.

10:42 Oh, I forgot to talk about the samba section.

10:45 THAT WAS AWESOME.

10:45 WAIT, WAIT, hold up.

10:48 I'm hearing it's so quiet

10:49 now.

10:49 I'm hearing about Yeah, just like boss nova clave.

10:54 Yeah, that's what I'm saying.

10:54 It's got a bosan no clav over.

10:57 Yeah.

10:58 Also, like goes without saying, but this is so beautiful.

11:00 like everything else in the texture here.

11:02 There's some hand drums in there, too.

11:04 What?

11:04 That's what That was weird.

11:05 Did you hear that?

11:07 They're like just slightly off the one.

11:09 The pianist waits.

11:10 The pianist waits.

11:11 It's just like barely even a half beat.

11:14 Like Uh-huh.

11:15 As a as a pianist, if you're doing like pad stuff, if the rhythm section,

11:18 the basis and the drummer are really locked in, it

11:20 doesn't matter where you are because everything just locks in.

11:24 There's freedom with the time when you're just like kind

11:26 of when you always know where you are and you

11:28 know that like you're able to kind of like

11:30 play with time a little bit especially as a pianist.

11:32 That's something that we get to do if we

11:33 if we're playing with a good basis and drummers.

11:37 Yeah.

11:37 So just wait 1 2 3 4.

11:41 It's like almost like on the end of one but even before the end of

11:44 it's before the end.

11:45 It's like right in the middle.

11:46 1 2 3 4 the triplet.

11:51 Yeah.

11:51 and the the just on the second 16th note.

11:54 Maybe maybe the six second 16th note has something to do with the D.

12:00 Oh yeah, good call.

12:01 Maybe that's like a little bit of the reason that it's working.

12:04 It's because they are still including that kind of D.

12:08 So, and it's done by the vocalist instead of the backing track this time.

12:11 Also, I love the chord progression.

12:12 The uh A minor 7 to F sharp minor 7 to F major 7 to D minor 7.

12:19 Just gorgeous.

12:20 The thing that keeps the whole thing gelled together

12:22 is the fact that the the chords are the same.

12:24 Those are the same eight chords.

12:26 The chords are good.

12:28 That's all you need to know.

12:29 There's no like structure.

12:30 It repeats the same couple of chords,

12:31 but it just goes to a weird option that you weren't thinking it

12:35 was going to go to, but then it would go there and you're like,

12:38 "Oh, it does the same chords for like most of the song.

12:42 I think um it takes like the the closest thing possible and goes to that and it

12:49 like moves certain notes in a certain way that only moves them like a half step.

12:53 Totally different chord and it's like whoa.

12:56 This is the intro.

13:02 That section just now it removed the second chord.

13:05 So it's just

13:09 and then it introduced B diminished.

13:12 Oh no, it's it's a half diminish.

13:15 Okay.

13:15 Okay.

13:16 Okay.

13:16 Yeah.

13:17 New different wa progression.

13:19 Yeah, that was a very interesting rap verse because like one

13:22 I think he starts it right before the vibe shifts again,

13:26 but I think the choices made in the rap and the rhythm

13:29 and the placement is all related to the vi the genre shift in this section.

13:33 So it's a lot more laidback and like kind of like oh

13:36 we're kind of in like maybe we're in like a club in

13:41 nothing.

13:41 He's just like it's very tasteful.

13:46 There were a lot of components we really liked.

13:48 We enjoy that.

13:51 Yes.

13:55 Oh, his rap was fire.

13:56 I'm assuming he wrote that cuz you mentioned him earlier down.

14:01 That was so good.

14:02 You can do better than that.

14:03 Get it down.

14:04 Down.

14:05 Oh, I just fell for you.

14:07 That's not like a super complicated thing.

14:08 It's just really fun.

14:12 Yeah,

14:12 they have so much swag.

14:14 Like I feel like everyone these days is trying to be swaggy.

14:18 It's believable.

14:19 It's convincing.

14:24 I like that was just that was just that was

14:31 just So both of the rappers have very unique

14:37 they have like a unique like texture to kind

14:39 of riff off of and this one's more like groove heavy.

14:42 So like it's led by this like kind of insistent like which is sort of more

14:49 related to I think the more like heavier

14:51 texture of like the main sections of the song.

14:53 So I guess we have two different characters.

14:55 They have like the kind of relaxed, chill,

14:57 ethereal character and then the more like

14:59 industrial like intense driving character in the song.

15:03 I really like how they use peing like sound

15:06 peeking like on a like a like a Yeah.

15:09 Like it it totally peaks and it distorts the audio

15:11 a little bit as an effect in the song.

15:13 I love when artists do that so much.

15:15 the chopping, the bass, the like I I really liked all the choppiness,

15:22 the way that they kind of cut that major 7th up.

15:26 And it's still a major 7th,

15:27 but because the bass sounds so dissonant underneath it, it's like you said,

15:31 really grainy and almost abrasive in a way

15:34 that undercuts the dreaminess of the voices

15:38 really well and adds like a certain rhythmic drive to it that I really enjoy.

15:43 It's interesting cuz you have this like juxtaposition

15:45 of all the distortion in the production and then

15:49 at the same time all the vocals and then like

15:50 the synths are so like ethereal and like on top.

15:54 So it's like this like sort of like intense like grunginess

15:56 and like intensess versus like this like

15:59 angelic dichotomy which is so interesting.

16:03 I guess one thing that connects the everything would

16:06 be like how they how they sang their vocal lines.

16:10 It's oddly calm for something this like.

16:14 And um there's some like cool vocal stuff which is super fun.

16:17 Really cool like slide portimento into the next section.

16:21 But then there's also like the cool like harmonies up top of the fetto.

16:28 And then there's also the um ad libs like the I really like his tone.

16:35 It's kind of like low and then naturally kind of raspy,

16:38 husky, but also very suitable to lyrical kind of sounds.

16:43 I like Kiho is very distinguishable.

16:45 His his his uh his voice is more um clear and then more vibrto.

16:50 That last chord is awesome.

16:52 That little portimento slide you were talking about.

16:54 It's like a it's like an A major 7

16:57 with a C sharp in the bass and then they go and just move

17:01 the whole thing up to make it a B flat major 7 over D.

17:04 Yeah, that's so cool.

17:07 So, why did they go up?

17:09 Who knows?

17:09 Cuz they don't continue going up.

17:12 Just for fun.

17:13 Just for fun vibes.

17:15 Yeah, it's literally a pivot chord.

17:16 It's literally a pivot chord.

17:18 For some reasons, the the genres do

17:20 flow together for some cosmic sort of reason.

17:25 Yeah.

17:24 Of those sections are so so completely different that it just feels

17:27 like a different song even though it has like similarities in the progression.

17:32 So like we've been through such like a lot

17:33 of like different vibes and like to come from like to this sort of like very

17:38 groovy laidback vibe from the d it's like huh

17:48 in the intro you can't avoid the impact that the harmonies have on you.

17:52 But here you can listen to the whole

17:54 song and not even notice anything about the harmonies.

17:57 Well because it's like a lot more percussive.

17:59 Like you hear these like D and it's like so much denser

18:05 that I have a hard time like absorbing the notes that I'm

18:09 hearing versus like the beginning where you get to really sit

18:14 with the harmonies and like the the the melody is also like quite legato

18:19 so you can hear everything interacting with each other

18:22 and you like sit with progressions for a longer time.

18:24 I just was not expecting anything to happen which is like awesome.

18:28 Like all of that is just so random and out of place.

18:30 It's just like wo but it makes a song.

18:34 Okay.

18:38 Go hit that hit that major seven.

18:41 That rapper by the way writes his own stuff and he's

18:43 20 and he's been like rapping publicly since he was 16.

18:46 Holy I'm quitting music.