#synthesizer v chorus

[shiweimigi]

JAE VOCAL PROJECT Original Song Shout Out!

"HEISEI TO THE REIWA" by Aotani featuring Marie Ork, Bones, NATA, Canary, Eleanor Forte, GENBU, Yamine Renri, Kyou Hana, Toka Aki, Pinku, Larimar, Mikene Kotarou, Yomino Ashio, Hoshikuzu Yuzuko, Tsukine Lami, Tohoku Kiritan, Yoko, Matsuo Yuri, Utawa Sero, Namine Ritsu, Watarine Niwa, Kemonone Rou, Shirane Kan, Sugar Torque, Sorashido Lemi, Aoki Kazuki, and Kurobousuku

Also available on bilibili and niconico

[spontaneousglitterbees]

This week's is a classic! Ten+ years on I still love this song.

[whis--ker]

KASANE TETO SYNTHV!!!

[aplusod]

an english cover of Harumaki Gohan's Empurple

[fyeahcindie]

Some epic rock from 康士坦的變化球 KST (formerly known as Constant & Change 康士坦的變化球) =D

Warning: there are flashing lights in both of these live clips!

Lyrics/Music/Lead Voc: ARNY Wu 吳穎然 Arranger/Producer: SionC Chorus Arranger 和聲編寫｜ARNY & SionC Chorus Vocals: ARNY, CREED, 小米 GAIL, SionC (arranged by ARNY & SionC) Electric Guitars: ARNY, Creed Zhao Bass: SionC (陳佑祥 Sion Chen) Drums: 張譯云 IYun Chang (Gail 小米) Synthesizer, Sampling: SionC, ARNY full a/v credits at YT

Links:   Instagram,  Constant & Change Spotify,  YouTube,  indievox,  ChangIYun米 YouTube, IYun Chang IG

Gail posts drummer-view live clips - always a treat to watch such power and precision, and hear her vocal towards the end:

[slackcoalition]

Leveraged Dreaming

This song started as the simple riff in the beginning. I liked the uptempo beat and the directness, so I decided to make it a full song. I just added the little pre-chorus for a change of pace, some flair on the second verse, and a Joey-Santiago-esque solo.

I had just finished reading Amusing Ourselves to Death by Neal Postman and wanted to make something as a reaction. I pulled some of the ideas from the book into a general free-verse essay. I wanted a sort of dreamy atmosphere to the lyrics so I just looked up synonyms for some of the words until I got phrases that seemed unnatural.

From there, I used the Moises.ai lyric assistant to help get the lines and rhymes together. I worked out a melody on a keyboard plugin, edited the lyrics to fit, then entered everything into Synthesizer V to make Solaria sing.

Enjoy!

[ultima-producer]

I’ve been trying to use Synthesizer V’s Instant Mode for a chorus part, listened to it and absolutely hated it. I’ll just stick with note splitting and vibrato for now.

[alaminpro33]

Arturia – ARP2600 V Analog Synthesizer (MAC) Download

The Arturia ARP 2600 V is your gateway to the iconic sound of one of the most celebrated analog synthesizers in music history. Reimagined as a virtual instrument for macOS, this software plug-in combines the unmistakable character of the original ARP 2600 with cutting-edge digital enhancements that unlock unprecedented sonic possibilities. Download the Arturia ARP 2600 V Analog Synthesizer today and elevate your music production to professional heights.

Why Choose Arturia ARP 2600 V?

A Faithful Re-Creation of a Classic Experience the rich, warm tones of the legendary ARP 2600, famously used by musical pioneers like Stevie Wonder, Jean-Michel Jarre, and Herbie Hancock. Every aspect of the original synthesizer is meticulously modeled, delivering an authentic analog feel right at your fingertips.

Modern Features for Modern Producers Take your creativity to new heights with features the original could only dream of. From MIDI control to polyphony, enhanced sound-design tools, and over 400 professionally crafted presets, the ARP 2600 V is designed to meet the demands of contemporary music production. Its HD-compatible, resizable interface ensures seamless integration into your workflow.

Advanced Modulation and Effects Explore new dimensions of sound with advanced tracking generators, ring modulation, and synchronized LFOs. The added effects—chorus and delay—let you sculpt your sound further, pushing the boundaries of what’s possible with this iconic synthesizer.

Unmatched Sound Quality Arturia’s proprietary True Analog Emulation technology ensures pristine audio performance, free from aliasing, from 0.1Hz to 16kHz. Whether you’re producing cinematic scores, electronic bangers, or ambient textures, the ARP 2600 V delivers unparalleled sound clarity and versatility.

Key Features at a Glance:

Redesigned preset browser for effortless sound exploration

Authentic replication of the ARP 2600's voltage-controlled oscillators and lowpass resonant filter

Polyphony options ranging from 2 to 32 voices with unison capabilities

Interactive modules, including a tracker and envelope follower, for dynamic modulations

Step into the world of legendary analog synthesis combined with modern functionality. Unleash the power of the ARP 2600 V and create sounds that resonate through time.

Download Now

[shuesueichiyu]

LastVerse (​.​.​.​and 5 billion​-​year waiting list) (feat. Kevin , Synthesizer V) 【Alternative, Shoegaze Rock, Original Song】

---BandCamp (include a streaming full free sample)

---Youtube

---Subscription service links (nodee)

https://nodee.net/a/epk28stm

【About this song】

This is an alternative rock song with a chorus-effected arpeggio and fuzzy guitar. Its sound was tuned atmospherically.

Main theme of the song is "Mitreya devotion and remaining life of Sun". In some of Buddhism, it is said Mitreya finishs his training to become Tathagata after 5 billion years, and will save people. While, life of Sun is thought left only 5 billion years.

From distant past until then, Ksitigarbha will have been saving pepole on behalf of Mitreya. Ksitigarbha is popular as Jizo(地蔵) in Japan. You can see familiar statues of Jizo all around Japan

Subscription services ver. is before remake.

【Story】 5 billion years later, the sun will disappear and Maitreya's salvation will arrive. Thanks to Jizo(Ksitigarbha), who have been with me in this world of impermanence.

【Artworks】

[paiganzero]

Kleins By Space or Sea | "Don't Go" |fractals and blues rock with Synthesizer V vocals from Stephen Sink on Vimeo.

Funky rock bluesy jam with electric clavinet, Hammond organ, wah guitar, acoustic fingerstyle guitar, crunchy high-gain lead guitars, funky bass, and drumming with a funky swing.

Featuring the vocals talents of Synthesizer V's emulated singers Asterian (Baritone and lead), Hayden, (Tenor BG), Natalie (Alto BG), Solaria (Soprano BG). “Don’t Go” by Stephen Sink Intro Crooning

So know bro, flow grow slow Show crow below, no yellow snow Show hello, po faux glow Escrow, oh no, oh no no Bro go slow, chateau flow, yo

Chorus: Wah-ah-ee go, yo Wah-ah-ee go, oh no no Don’t go Wah-ah-ee oh, bro Wah-ah-ee oh, if you go Go slow

Overflow bio dough Quid pro quo, fellow mellow foe Hoe agro, mow fro toe Tarot, oh no, oh no no Bro go slow, Merlot flow, yo

Chorus

Nouveau crow, tableau glow Know dough forgo, pro although slow So shallow, flow fallow Shadow, oh no, oh no no Bro go slow, Cabot flow yo

Chorus

So know bro, flow grow slow Show crow below, no yellow snow Show hello, po faux glow Escrow, oh no, oh no no Bro go slow, chateau flow, yo

Bridge (X4): Na na nani nani Na nan ni nani Na na nani nani Don’t Go

Chorus X2 Ending (Woe, Don’t Go)

[spontaneousglitterbees]

Video description under the cut!

Hey there! If this is your first encounter with Synthesizer V (SynthV), welcome to the world of vocal synthesis. These guys ('voicebanks') are ethically-sourced with full knowledge and consent by their voice providers. I'll spare you the full details, but they are much more akin to cousins of Hatsune Miku and Vocaloid than AI music. Voicebanks take human effort to input and tune, just like an instrument. The purpose of these voices is not to replace humans, but instead to enable creativity by letting artists for whom it would be impractical to hire a vocalist still create vocal music. I made this cover not to substitute or replace the original, but for the same reasons you might want to play the song on any other instrument- it's fun!

Also some of them have fun anime representations. Kevin, our Very Normal Man Paul Matthews, does not (officially, at least). He is represented by a letter 'K', in contrast to almost everyone else in this cover.

Speaking of, if you are on the other side of this equation and are here for my vocalsynth stuff but haven't seen this musical before: Welcome to the weird world of Hatchetfield, a small island town in Michigan where things go spectacularly wrong with alarming frequency. This song is my favorite from the first musical in a trilogy, "The Guy Who Didn't Like Musicals". It's about Paul Matthews, the titular Guy, as he finds himself at the mercy of an instrument of the end of the world. The proshot is free on YouTube, and well worth the watch, even if only for the context here.

… Also, many (including me) headcanon Paul is autistic and the musical can be read as about his experience as an autistic adult. If that sweetens the pot for anyone.

Credits, and that sweet SVP link:

Footage from The Guy Who Didn't Like Musicals- https://youtu.be/IrxKX44qBJ0 Music and Lyrics by Jeff Blim SVP by Glitterbees- tinyurl.com/4ns3v3e8

If you enjoyed, please support the original release!

Starring, in order of appearance: Mr. Davidson - JUN Nora (Emma's Boss) - Eleanor Forte Prof. Hidgens - ASTERIAN Greenpeace Girl - SOLARIA Bill (Chorus) - Mo Chen Hatchetfield Bee (Chorus) - Stardust Infinity Paul Matthews - Kevin

I can't believe this is the first time I've used Stardust on the channel,, I did just get her, though. Plus, I didn't know who to make Ted. It's more balanced this way.

(Psst, if you're a vsynth newbie and interested in song-based storytelling, might I interest you in the Evillious Chronicles? I have a big playlist on my channel, and can give some recs on where else to start if you leave a comment)

What's in your soul? Is your heart so damp and bleak that you won’t give us a peek of your soul?

Just let it out! There's a voice inside of you on the edge of coming through. What's it about?

And I know it's a singular voice, Paul. You've just got to give up your choice!

Just let it out, let it out, let it out! Let it out, let it out, let it out! Just let it out, let it out, let it out! Let it out, let it out—

Never!

What was that?

You let it out….

Was that a note, or just a sound? Am I finally coming 'round to rhyming scheme? Oh god! Just stop it! I’m split in two! Is this me, or is this you? Am I dead? I’m coming apart at the seams! La-la-la-la-la-la-la-la-la. No! No-no-no-no-no-no-no!

Just let it out, let it out, let it out! Let it out, let it out, let it out! Just let it out, let it out, let it out! Let it out, let it out, let it—

I’ve never been happy. Wouldn’t that be nice? Is this the secret? Singing and dancing through life? Is my integrity worth anything at all? … But happiness can’t come before its fall.

Am I crazy? Maybe I’ve always been. Become what I’ve hated? Or maybe I never did…. It’s awful freeing now, to share the hate I've felt. But what will I let in if I let it out?

Let it out, let it out.

Am I crazy? I don't think so.

Let it out, let it out, let it out!

Maybe I've always been…

Just let it out, let it out, let it out!

God help me out!

Let it out, let it out—

If I let it out!

We will not be resisted!

I don't like musicals!

[concerthopperblog]

Review: Kitchen Dwellers- 'Seven Devils'

Bluegrass has a lot of common themes. Liquor, poverty, infidelity manual labor, and the devil are just a few. Dante Alighieri's epic poem “The Divine Comedy” isn't one of those common themes. But perhaps it should be. Many of those common bluegrass themes can be found in the Seven Deadly Sins, a large part of Aligheri's work. On their new concept album Seven Devils, Kitchen Dwellers explores the seven deadly sins, and some others, with gusto.

Aside from a brief instrumental “Prelude,” Seven Devils begins and ends with alternate versions of the title track. The opener, “Seven Devils (Limbo)” is a six minute slab of jamgrass goodness, featuring not only the standard bluegrass instruments, but also the Buchla synthesizer. Bettering that is the album closer “Seven Devils (Full Version)” which is a ten minute jamgrass clinic, using the same lyrics but stretching the instrumental interludes even further. As for those lyrics, it's a great way to bookend a story of the Seven Deadly Sins. “I might return an unclean spirit seeking rest,” vocalist Joe Funk belts, “a breath of old-fashioneds and foreign cigarettes.” Later, he insists “Let's start digging holes before my demons come / Make seven canyons for to bury each one.”

Aside from “Seven Devils,” the album's highlight track is “Waterford Son (II).” Tackling the second Deadly Sin, greed, it's the tale of an Irish immigrant who gets tied up in gang activity and eventually the westward expansion. With a Celtic vibe throughout (courtesy of Dermot Sheedy's bodhran and Doug Berch's penny whistle), it's a lyrically dense song without a chorus, but it works. A chorus would break up the storyline and the story is the sell here.

Another winner is as brief as “Seven Devils” is long. “Meagher's Reel (I)” explores Pride, the first deadly sin, in the best way possible, with barely a minute of pure Celtic virtuosity. Pride might be a sin in places, but Kitchen Dwellers have plenty of reason to be proud with skills like this.

Album single “Pendulum (V)” finds the band musing on addiction, and addiction replacement. “I’ve long had a theory that everyone has a baseline addictive tendency that must be satisfied, and it is up to the mind to decide at which point on the 'good' and 'bad' spectrum that habit is chosen,” Funk says in the album's press release, and the song's lyrics bear that up. “It ain't easy being sober in the life that we chose / Vices swing like diamonds on a pendulum.”

Seven Devils is a bold undertaking for any band. The material is weighty and concept albums are hit or miss in roots music as a whole. Kitchen Dwellers score a definite hit here. If you can call any album about the Nine Levels of Hell fun, this one is it.

Seven Devils releases March 1 on No Coincidence Records.

[kalaplugin22]

Arturia – SQ-80 V (MAC Only) Download

Introducing Arturia SQ-80 V (MAC Only): A Vintage Synth Reimagined for the Modern Creative

Unleash the power of nostalgia and innovation with the Arturia SQ-80 V, an exquisite software emulation of the legendary Ensoniq SQ-80 synthesizer. Designed exclusively for Mac users, this virtual instrument takes you on a sonic journey, blending the best of the past with cutting-edge technology to fuel your creative endeavors.

Vintage Inspiration, Modern Implementation: The Arturia SQ-80 V faithfully captures the essence of the iconic Ensoniq SQ-80, a vintage synthesizer known for its warm analog tones and distinctive wavetable synthesis capabilities. Arturia's meticulous emulation ensures that every nuance of the original hardware is preserved, allowing you to experience the same rich textures and character that defined the sound of the '80s.

Expanded Sonic Palette: Building upon the foundation of the Ensoniq SQ-80, Arturia has enhanced the SQ-80 V with modern features and expanded sonic possibilities. Explore an extensive library of meticulously sampled waveforms, including classic analog waveforms and unique wavetables, giving you access to a diverse range of sounds for your music production.

Wavetable Synthesis Reinvented: The SQ-80 V takes wavetable synthesis to new heights, offering advanced modulation options and real-time control over waveforms. Dive into the world of evolving textures and dynamic soundscapes as you manipulate wavetables with precision. The intuitive interface empowers you to sculpt and shape your sound effortlessly, unleashing your creativity without limitations.

Intuitive User Interface: Arturia is renowned for its user-friendly interfaces, and the SQ-80 V is no exception. The sleek design and intuitive layout make it easy for both beginners and seasoned professionals to navigate and explore the vast sonic capabilities of this virtual instrument. The resizable interface ensures a comfortable and customizable workspace, adapting to your workflow seamlessly.

Enhanced Modulation and Effects: Elevate your sound design with the SQ-80 V's comprehensive modulation matrix. Shape your sounds with precision using envelopes, LFOs, and modulation sources, providing unparalleled control over every aspect of your patches. The built-in effects section adds the final polish to your creations, offering a selection of high-quality processors, including reverb, delay, chorus, and more.

Seamless Integration with your DAW: Arturia SQ-80 V seamlessly integrates into your Mac-based digital audio workstation (DAW), allowing for smooth workflow integration. Whether you're using Logic Pro, Ableton Live, or any other compatible DAW, the SQ-80 V enhances your production experience with its plug-and-play compatibility.

Vintage Vibes, Modern Convenience: While the Arturia SQ-80 V captures the vintage charm of its hardware predecessor, it also brings modern conveniences to the table. Enjoy the convenience of unlimited polyphony, instant preset recall, and advanced automation capabilities, making it a versatile tool for modern music production.

Conclusion: Arturia SQ-80 V (MAC Only) is not just a virtual instrument; it's a sonic time machine that transports you to the golden era of synthesizers while providing the flexibility and power needed for contemporary music creation. Whether you're a synth enthusiast, a producer looking for that nostalgic touch, or a modern musician pushing sonic boundaries, the SQ-80 V is a must-have in your virtual instrument arsenal. Elevate your sound with Arturia SQ-80 V – where vintage meets visionary.

[unknownpleasures68]

Me improvising for my new album (PART II)

[dmdokuro]

i guess to drown out the passively dismal nature of the previous post, here’s something pretty great.

I can use Synthesizer V to do stuff like this now. it’s been a while since i last heard this 125-year-old track, but working with SynthV kinda made me feel like i was my high school chorus conductor for a brief moment- the same one that saved my life through the power of music.

hopefully there will be even more voices. a whole virtual choir that could be meticulously arranged voice by voice would be something i’d see myself working with often.

you can take a bass out of a choir, but you can’t take the choir out of the bass.

.  .  .  except Kevin, Kevin might need a little bit more range work as a second bass. 9.9 times out of 10 his voice cracks. f to pay respects.

[bts-weverse-trans]

The Life of BTS Writes a Story Review of BE 2020.11.30

BTS released its new album, BE, on November 20 after RM announced the band’s plan to produce the record on BANGTANTV’s Log (ON) on April 17. The group was working on the album even as “Dynamite”, the single they dropped on August 21, was topping the Billboard Hot 100. This order of events is given a fresh new meaning when “Dynamite” closes BE as opposed to standing alone as a single. While the group was busy sending messages of hope by reminding us of the past where heading out happily after a cup of milk was possible and giving us a glimpse of the future that will eventually come, they were recording the emotional ride they have been on while being off stage via different tracks on BE. Such changes in emotions can be seen through different portrayals of Jung Kook’s room—the way it looks during the first verse of both “Dynamite” and “Life Goes On,” the title track of the new album. Jung Kook is captured looking chipper as he ties his shoes getting ready to go out and dances in his sunshine-filled room in the music video of “Dynamite”, but in the latter’s video, Jung Kook stares blankly out the window. BE tells the story of how Jung Kook and other members navigated their lives, which includes their time singing “Dynamite,” during the pandemic by stepping out of rooms that are distinctively less colorful than the scenes in the music video of “Dynamite”.

The seven tracks, not including “Dynamite”, embody BTS’ emotional shifts and draw what looks a lot like a V curve, with “Skit” separating each section of three songs. The album opens with “Life Goes On” where BTS asks, “there’s no end in sight / is there a way out?” to live through a reality devoid of hope and arrives at “Stay” where the group expresses their intense longing for a reunion with the fans by saying, “Thinking of you now / No matter where you are / That’s not important.” And during this journey, BTS responds to the physical limitations imposed on their daily lives by saying “They took away this whole year” while also trying to put a positive spin on it by singing, “Thoughts can change by thinking,” in “Fly to My Room”. What follows is “Blue & Grey”, where they reveal inner feelings of depression and anxiety with the line, “Still don’t know this sharp blue / Hope it’s not covered over I’ll find the exit.” “Skit” then offers a shift in direction, and the next song, “Telepathy” reveals their eagerness to meet people again, highlighted by the lyrics, “Every day’s the same and I’m happiest when I meet you.” BTS also takes a moment to let out their complex thoughts on work to reach “Stay” ultimately. It is only at the end of this process that the optimism in “Dynamite”, which feels like a conviction of hope in a time of pandemic, appears in full.

“Life Goes On” allows those who don’t know whether they should hold on to hope or give up on hope to feel what it is like to go with the flow when you don’t know what to feel. Those who want to find a reason to be positive in life affected by the pandemic can find solace in “Fly to My Room.” But it is when you listen to the album as a whole that you can get healing from the pain the pandemic has inflicted on us. The soothing ambiance offered by “Life Goes on” transitions into heavy, slow, and dark tunes in “Blue & Grey,” which is followed by faster rhythm and airy sounds in “Telepathy” and “Stay.” Then the album finally culminates in “Dynamite” where the bright sunshine lifts you up. The record in its entirety offers the chance to experience at least indirectly the emotional ride taken by global superstars BTS themselves. “Dis-ease” is the classic example of the storytelling style BTS chose for the album; the moment they let out their angst and fully devote themselves to work is when the song reaches its climax. When BTS sings, “Get up one more time / It’s morning again we gotta go out / Let’s go one more night,” towards the end of the song, the arrangement drives up the song’s tension for the peak moment, “Everyday I console myself / We’re all the same people ain’t so special / Ay man keep one, two step keep calm and let’s heal up” which tops the song off like fireworks. This ironic way of storytelling mirrors BTS’ life at the moment. There are a lot of thoughts about work and life on their mind, but they try their best to work through them. And just as they do this, their energy transforms into a musical blast.

With “On,” the single track on their previous album “Map of the Soul : 7,” BTS says “Where my pain lies / Let me take a breath.” The album covers how BTS has traveled from the past to where they stand now, and “ON” tells a story of the members having to live with the “shadow” that comes with enormous fame as discussed in “Interlude : Shadow” on the very same album. With BE, BTS finally tells the story of their lives that are still unfolding. It’s not clear whether their questions about work asked in “Dis-ease” now found answers. It’s not known how long this will last, just like no one knows when this pandemic will finally run its course. We have no way of knowing if they are still in the mood expressed in “Blue & Grey” or they’re feeling the positivity of “Fly to My Room.” One thing that is clear is that while they battle work as one would with “Dis-ease,” they still wrote songs like “Telepathy” and “Stay” to send their messages to the fans, and kept busy getting ready to perform “Dynamite” on numerous stages. BE is the album that ties together all of their real-life events, both on and off stage, as one narrative. They started as an idol group and now their lives are intertwined inseparable from their music, their very existence becoming the stories they tell.

The way BE sets up different songs is directly linked to the musical changes BTS has undergone, and thus, are evident in the album. As the members’ stories take center stage, the arrangement focuses on getting their lines and melodies across and adjusts itself flexibly to each member’s part without following a certain trend or form. The arrangement filled with sounds of guitars, synthesizers, bass, drums, and pianos or sounds similar to real instruments is fitting to songs like “Fly to My Room” and “Blue & Grey”, in which auditory shifts accompany each member’s part. The smaller number of sounds used in

BE

compared to previous albums further emphasizes vocals, such as by accentuating the sound of Jung Kook inhaling in the beginning of “Life Goes On.” If J-Hope’s part in “Fly to My Room” reminds you of a gospel song, it’s not just because the synthesizer highlighted the gospel-like vibes but also because j-Hope’s voice that faithfully delivers his emotions as if giving witness to an epiphany with the line, “Thoughts can change by thinking.” Just like the auditory shift that takes place with SUGA’s rap part in “Blue & Grey” where the drums begin to layer, the arrangement of BE evolves constantly in line with each member’s part.

BE also takes on new challenges in format.. The chorus in “Blue & Grey” has such long melodies that it has no clear ending, and it fades out for the post-chorus that triggers an image of a lonely winter night with gloomy vocals. The post-chorus might seem like an abrupt shift but many devices contribute to giving this song the bleak wintery night vibe: RM’s somewhat distant rapping delivered through left and right on stereo that echoes through the room as well as the vocal recording that applied different echoes depending on lyrics and the solemn sounding cello. “Life Goes On” progresses in a similar fashion, starting with percussions ringing right next to your ears that create multi-layered sounds and taking you to an imagined space by blending the chorus and synthesizer. The story they tell resembles confessions about emotional states or specific circumstances, and the melodies unfold and rap flows in new ways as the story progresses While there are a lot of shifts, there is consistency in that sounds build the same sense of space. “Stay,” while being an EDM piece, ends on a rather blue note after phasing out beats that earlier set the stage for the dancefloor stomper. It makes sense given that the song is Jung Kook’s imagination of performing in front of the fans; Festivities in the song are interrupted by the fading out of vocals and overall sound layers. “Telepathy” offers a catchy hook in a song filled with bouncy spirit, just like “Dynamite” does. But the difference lies in that “Dynamite” brings out the explosive energy through repetition of melodies and variation of rhythms and that “Telepathy” phases itself out by reducing the number of sounds. “Fly to My Room” is about coming to terms with life in the pandemic, but the acknowledgment doesn’t necessarily make such a life enjoyable. Adding vibrant melodies isn’t a solution to challenges that accompany work, which are conveyed in “Dis-ease.” Such are the mixed feelings we experience in life—in which we have no control over a break or our approach—that are clearly expressed in the album by highlighting each member’s part and various shifts. Despite the numerous musical turns, the album has been produced in a way that ensures its consistency throughout the entire work; “Life Goes On” leaves you with the chorus where the seamless melodic flow seems like it’ll just keep on going.

In “Skit”, BTS is talking about how they’re practicing their debut song for performance eveon on the day after “Dynamite” became No.1 on the Billboard Hot 100. After they topped the chart with “Dynamite”, they came back with an album filled with songs seemingly the polar opposites of their hit single. Life seems to be on a loop but changes suddenly appear, and previous routines end up different because of this newness. BE is an acceptance of such peculiarity of life rather than an answer to it. BTS began with K-pop and now have become superstars of pop, and they’ve harnessed the power of their own story in the album by choosing neither path. The team that began its journey with “No More Dream” and have traveled to “Dynamite” leaves an open ending as to where they will head next. Still, the next chapter will be shared regardless of what it shapes up to be. That is why they can leave us wondering what comes after BE.

Trans © Weverse