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GOT7’s mini-album DYE flows like a musical, and here’s how - a very long thread:
#GOT7
@GOT7Official
#GOT7_DYE
#GOT7_NOTBYTHEMOON
#GOT7_COMEBACK
#GOT7
@GOT7Official#GOT7_DYE
#GOT7_NOTBYTHEMOON
#GOT7_COMEBACK
(1/?)
When I first listened to DYE, the word that came to mind was “theatrical”. The more I listened to it, the more vivid the theatrical images became, and the more I was convinced that the 6 new songs, together, tell a story.
When I first listened to DYE, the word that came to mind was “theatrical”. The more I listened to it, the more vivid the theatrical images became, and the more I was convinced that the 6 new songs, together, tell a story.
(2/?)
Imagine DYE as a musical with 2 acts and 6 musical numbers (which we’ll incorrectly refer to as “scenes”).*
Act I includes:
- Aura
- Crazy
- Not By The Moon
Act II includes:
- Love You Better
- Trust My Love
- Poison
Imagine DYE as a musical with 2 acts and 6 musical numbers (which we’ll incorrectly refer to as “scenes”).*
Act I includes:
- Aura
- Crazy
- Not By The Moon
Act II includes:
- Love You Better
- Trust My Love
- Poison
(3/?)
Act 1, Scene 1: AURA
The curtains rise, and we open with a masquerade ball. The set design is lush and elaborate, and also dreamlike to match the vibe from the opening instrumentals and JB’s humming.
Act 1, Scene 1: AURA
The curtains rise, and we open with a masquerade ball. The set design is lush and elaborate, and also dreamlike to match the vibe from the opening instrumentals and JB’s humming.
(4/?)
Immediately, we establish that our story is set in a historical period, in a place reminiscent of somewhere in Western Europe (perhaps Italy for Romeo and Juliet, or France for Phantom of the Opera like in the video above).
This certainly matches the styling for this era.
Immediately, we establish that our story is set in a historical period, in a place reminiscent of somewhere in Western Europe (perhaps Italy for Romeo and Juliet, or France for Phantom of the Opera like in the video above).
This certainly matches the styling for this era.
(5/?)
The chorus makes us think of rich fabrics and intricate masks - less Cinderella 2015, more Ever After 1998.
The chorus makes us think of rich fabrics and intricate masks - less Cinderella 2015, more Ever After 1998.
(6/?)
Youngjae in the chorus makes us think of couples dancing, of background characters meeting each other for the first time, as is the purpose of the ball.
Meanwhile, Jinyoung's voice invokes a romantic feel. It's as if his voice is telling us, “this story is a love story”.
Youngjae in the chorus makes us think of couples dancing, of background characters meeting each other for the first time, as is the purpose of the ball.
Meanwhile, Jinyoung's voice invokes a romantic feel. It's as if his voice is telling us, “this story is a love story”.
(7/?)
We get the same feel throughout the song, that is, until the bridge comes in.
Bambam and Mark's part here alludes to something darker. We go from dreamlike and romantic, to mysterious and haunting.
This matches the lighting change in their comeback stage below.
We get the same feel throughout the song, that is, until the bridge comes in.
Bambam and Mark's part here alludes to something darker. We go from dreamlike and romantic, to mysterious and haunting.
This matches the lighting change in their comeback stage below.
(9/?)
Act 1, Scene 2: CRAZY
If AURA introduced the story’s setting, CRAZY introduces the main characters to each other and to us, the audience.
They’re young and beautiful, and to them, it’s love at first sight.
Act 1, Scene 2: CRAZY
If AURA introduced the story’s setting, CRAZY introduces the main characters to each other and to us, the audience.
They’re young and beautiful, and to them, it’s love at first sight.
(10/?)
The beat of the chorus makes us think of fireworks, of butterflies in the stomach, and of the thrill in passionate, youthful love.
The main characters embody these, with their big smiles and stolen kisses at the ball.
The beat of the chorus makes us think of fireworks, of butterflies in the stomach, and of the thrill in passionate, youthful love.
The main characters embody these, with their big smiles and stolen kisses at the ball.
(11/?)
Side note: This seems to be a theme in JB’s songs for #GOT7 - the kind of love that puts a dopey smile on your face, where you feel like a teenager who would write pages and pages about how they make you feel crazy.
It’s terribly endearing and refreshing!
Side note: This seems to be a theme in JB’s songs for #GOT7
- the kind of love that puts a dopey smile on your face, where you feel like a teenager who would write pages and pages about how they make you feel crazy.It’s terribly endearing and refreshing!
(12/?)
Immediately after CRAZY, our main characters realise their circumstances. If we follow Shakespeare's Romeo and Juliet, the young lovers find out that they're from fatally-feuding families and would have a “you and me against the world” type of romance.
Immediately after CRAZY, our main characters realise their circumstances. If we follow Shakespeare's Romeo and Juliet, the young lovers find out that they're from fatally-feuding families and would have a “you and me against the world” type of romance.
(13/?)
Act 1, Scene 3: NOT BY THE MOON
NOT BY THE MOON starts playing, and it quickly builds up to a fake climax. Within the first few bars, the beat gets faster and faster, and the instruments get louder and louder, almost as if two characters are about to draw their swords.
Act 1, Scene 3: NOT BY THE MOON
NOT BY THE MOON starts playing, and it quickly builds up to a fake climax. Within the first few bars, the beat gets faster and faster, and the instruments get louder and louder, almost as if two characters are about to draw their swords.
(14/?)
But no swords are drawn.
In fact, the beat drops then slows down. And as we hear Jinyoung’s voice, there’s this very low, distant-sounding boom in the background that, when we listen for it, we feel in the pits of our stomachs. (Foreshadowing?)
But no swords are drawn.
In fact, the beat drops then slows down. And as we hear Jinyoung’s voice, there’s this very low, distant-sounding boom in the background that, when we listen for it, we feel in the pits of our stomachs. (Foreshadowing?)
(15/?)
Through the music and lyrics, we understand that despite the hardships they know they would face, there’s no turning back for the young lovers. Jackson in the pre-chorus goes:
Will never let you go, I won’t…
It’s meaningless without you.
Through the music and lyrics, we understand that despite the hardships they know they would face, there’s no turning back for the young lovers. Jackson in the pre-chorus goes:
Will never let you go, I won’t…
It’s meaningless without you.
(16/?)
They have fallen too deeply too quickly, so they swear their undying love (“not by the moon”).
The lyrics further emphasise how they have already been changed (“dyed”) by the other. Mark’s part goes:
Everyday used to be colourless
Tomorrow will be dyed with you
They have fallen too deeply too quickly, so they swear their undying love (“not by the moon”).
The lyrics further emphasise how they have already been changed (“dyed”) by the other. Mark’s part goes:
Everyday used to be colourless
Tomorrow will be dyed with you
(17/?)
The aesthetics of the music video aside, the synth choices and chord progressions lean towards something darker (compared to the ones in LOOK, for example).
And while the music is quite chill (compared to HARD CARRY), the tempo variations make us feel a sense of urgency.
The aesthetics of the music video aside, the synth choices and chord progressions lean towards something darker (compared to the ones in LOOK, for example).
And while the music is quite chill (compared to HARD CARRY), the tempo variations make us feel a sense of urgency.
(18/?)
Something big is going to happen, and we’re not just talking about the main characters swearing their undying love for each other.
There’s hype in and around NOT BY THE MOON, which is fitting for a title track and for an Act I Finale.
Something big is going to happen, and we’re not just talking about the main characters swearing their undying love for each other.
There’s hype in and around NOT BY THE MOON, which is fitting for a title track and for an Act I Finale.
(19/?)
In a musical, it’s important to have a strong Act I Finale - it needs to hit hard enough to tide the audience over the intermission that follows it.
The Act I Finale needs to convince us, the audience, to come back to our seats after we go to the bathroom or buy a drink.
In a musical, it’s important to have a strong Act I Finale - it needs to hit hard enough to tide the audience over the intermission that follows it.
The Act I Finale needs to convince us, the audience, to come back to our seats after we go to the bathroom or buy a drink.
(20/?)
As the title track (which convinces people to listen to the rest of the mini-album), it makes sense that NOT BY THE MOON is also the musical’s Act I Finale.
As the title track (which convinces people to listen to the rest of the mini-album), it makes sense that NOT BY THE MOON is also the musical’s Act I Finale.
(21/?)
Some of the best songs from musicals are Act I Finales. My personal favourites include those from:
- Dreamgirls
- Wicked
- Les Misérables
Can you guess which musical numbers are the Act I Finales from the shows above?
Some of the best songs from musicals are Act I Finales. My personal favourites include those from:
- Dreamgirls
- Wicked
- Les Misérables
Can you guess which musical numbers are the Act I Finales from the shows above?
(22/?)
INTERMISSION - Still with me? Act II is when things get really theatrical.
But first, why not watch #GOT7_NOTBYTHEMOON MV in full? #GOT7 @GOT7Official
INTERMISSION - Still with me? Act II is when things get really theatrical.
But first, why not watch #GOT7_NOTBYTHEMOON
MV in full? #GOT7 @GOT7Official
(23/?)
Act 2, Scene 1: LOVE YOU BETTER
The curtains rise again, and LOVE YOU BETTER starts to play. Compared to NOT BY THE MOON, this musical number feels lighthearted.
Act 2, Scene 1: LOVE YOU BETTER
The curtains rise again, and LOVE YOU BETTER starts to play. Compared to NOT BY THE MOON, this musical number feels lighthearted.
(24/?)
We find out what the main characters have been up to since we wrapped up Act I.
Romeo appears on stage, still very much in love with Juliet.
We find out what the main characters have been up to since we wrapped up Act I.
Romeo appears on stage, still very much in love with Juliet.
(25/?)
Side note: I imagined this scene opening with Romeo and an old style street light on stage.
So when their LOVE YOU BETTER performance opened with Jackson and an image of a street light, I totally lost my mind!
Side note: I imagined this scene opening with Romeo and an old style street light on stage.
So when their LOVE YOU BETTER performance opened with Jackson and an image of a street light, I totally lost my mind!
(26/?)
Then we see Juliet in her room, also still very much in love with Romeo and cannot wait to see him again. Bambam's part goes:
Baby I'm counting the days
that I can see you again
Then we see Juliet in her room, also still very much in love with Romeo and cannot wait to see him again. Bambam's part goes:
Baby I'm counting the days
that I can see you again
(27/?)
The excitement and anticipation mirror Juliet's lines in Act III, Scene 2 of Romeo and Juliet:
Not yet enjoy'd: so tedious is this day
As is the night before some festival
To an impatient child that hath new robes
And may not wear them.
The excitement and anticipation mirror Juliet's lines in Act III, Scene 2 of Romeo and Juliet:
Not yet enjoy'd: so tedious is this day
As is the night before some festival
To an impatient child that hath new robes
And may not wear them.
(28/?)
As is common with Act II openings, LOVE YOU BETTER doesn't really advance the plot. Instead, it re-establishes the theme of young love, and comes at us with a catchy melody.
As is common with Act II openings, LOVE YOU BETTER doesn't really advance the plot. Instead, it re-establishes the theme of young love, and comes at us with a catchy melody.
(29/?)
Act 2, Scene 2: TRUST MY LOVE
Very quickly, the young lovers' situation goes from bad to worse. If we follow Romeo and Juliet, Romeo is banished for committing murder, and Juliet's father brings forward her arranged marriage with another man.
Act 2, Scene 2: TRUST MY LOVE
Very quickly, the young lovers' situation goes from bad to worse. If we follow Romeo and Juliet, Romeo is banished for committing murder, and Juliet's father brings forward her arranged marriage with another man.
(30/?)
The opening of TRUST MY LOVE create a sense of unease, and makes us think of a foggy path in the woods.
Bambam's part that follows makes us think, "but something must be done”.
The opening of TRUST MY LOVE create a sense of unease, and makes us think of a foggy path in the woods.
Bambam's part that follows makes us think, "but something must be done”.
(31/?)
There’s a hint of indecisiveness in Jackson’s part, which is immediately quelled by the refrain of “trust my love, trust my love”.
Thematically, this makes sense, as the young lovers’ “you and me against the world” goes with "our love will conquer all”.
There’s a hint of indecisiveness in Jackson’s part, which is immediately quelled by the refrain of “trust my love, trust my love”.
Thematically, this makes sense, as the young lovers’ “you and me against the world” goes with "our love will conquer all”.
(32/?)
All the darker turns from earlier scenes lead to this - the young lovers think of no other way they can be together except in death.
All the darker turns from earlier scenes lead to this - the young lovers think of no other way they can be together except in death.
(33/?)
Act 2, Scene 3: POISON
It's a popular take that the main characters die in POISON.
But here's an alternative take - the young lovers are already dead by the time POISON starts to play.
Act 2, Scene 3: POISON
It's a popular take that the main characters die in POISON.
But here's an alternative take - the young lovers are already dead by the time POISON starts to play.
(34/?)
The whistling in the opening sounds more distant than any other sound we hear in POISON, and that gives it an almost detached, outro feel.
The whistling in the opening sounds more distant than any other sound we hear in POISON, and that gives it an almost detached, outro feel.
(35/?)
YMMV, but Jackson's part sounds distinctly theatre, almost as if it's aware that it's theatre.
This then makes us feel that POISON is sung not by the individual characters, but by the Greek chorus (or the in-universe narrator).
YMMV, but Jackson's part sounds distinctly theatre, almost as if it's aware that it's theatre.
This then makes us feel that POISON is sung not by the individual characters, but by the Greek chorus (or the in-universe narrator).
(36/?)
An example of a Greek chorus / in-universe narrator is Che in the musical EVITA (played in the film by Antonio Banderas).
An example of a Greek chorus / in-universe narrator is Che in the musical EVITA (played in the film by Antonio Banderas).
(37/?)
The chorus echoes our sense of confusion and discontent. With the dreamlike and romantic vibe with which the story began (AURA), how could this be the end, when our main characters are dead?
The chorus echoes our sense of confusion and discontent. With the dreamlike and romantic vibe with which the story began (AURA), how could this be the end, when our main characters are dead?
(38/?)
But it just is - there's no cosmic retcon, no hint that it's all just a dream or a ploy to fool their feuding families. There's not even a happy flashback montage.
But it just is - there's no cosmic retcon, no hint that it's all just a dream or a ploy to fool their feuding families. There's not even a happy flashback montage.
(39/?)
The young lovers end up dead, as is the tragedy the story warned us about in Act I.
Our in-universe narrators exit the stage one by one, with Jinyoung humming to curtains down.
The young lovers end up dead, as is the tragedy the story warned us about in Act I.
Our in-universe narrators exit the stage one by one, with Jinyoung humming to curtains down.
(41/?)
Important side note:
If the plot was more developed, it would be interesting to explore the function of Youngjae's bridge, not only because it is HAUNTINGLY BEAUTIFUL, but also because its first part is the single most theatrical-sounding bit in the entire mini-album.
Important side note:
If the plot was more developed, it would be interesting to explore the function of Youngjae's bridge, not only because it is HAUNTINGLY BEAUTIFUL, but also because its first part is the single most theatrical-sounding bit in the entire mini-album.
(42/?)
And this concludes our study of how #GOT7's mini-album DYE flows like a musical!
If you only have one takeaway from this thread, I hope it's that Youngjae needs to be in a musical, stat. #YOUNGJAE_SOLO2020
Listen to DYE on Spotify: https://open.spotify.com/track/1pmfd0ohjfh1qXPWvjaC1o
And this concludes our study of how #GOT7
's mini-album DYE flows like a musical!If you only have one takeaway from this thread, I hope it's that Youngjae needs to be in a musical, stat. #YOUNGJAE_SOLO2020
Listen to DYE on Spotify: https://open.spotify.com/track/1pmfd0ohjfh1qXPWvjaC1o
* ’Scene’ isn’t the most appropriate term for each song because in order for the musical to work, there needs to be more than 6 scenes.
The more appropriate term would be ‘musical number’, but that’s too long a phrase for Twitter!
The more appropriate term would be ‘musical number’, but that’s too long a phrase for Twitter!
