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angel / cries
the first stage
.
β (give me a word) [moonlight] fireflies / dark skies [goodbyes] / frail wings, frail minds / (hands over mic) [λλΉ ] flies and cries and dies β
( parentheses ) indicate audience directions, ( italicized parentheses) indicate actions, [ brackets ] indicate audience additions
.
the stage
"My Drawing Room", 2008 by Yoshitomo Nara
NPR's Tiny Desk
"Untitled," 2022 by Sunghwa Kim
unknown artwork by Stephanie Pui-Mun Law
γε¦ζΏγby Rainie Yang, Hu Yutong, Li Runqi
.
eunha
corset by ziwu_artemis
dress and shoes by Susan Fang
hair by nanami_hair (imagine more flowers and less frills)
nails by toto_account__
.
yulan
corset by Matilda Sundkler and Elza White
dress by DAISY
shoes by Susan Fang
custom Toshihiko Takamizawa guitars
.
the stage concept is similar to ε¦ζΏ, a grassy flower field effect all over the stage, with exception of a my drawing room-esque makeshift shack in the middle of the stage, which is fully rigged and shot like a tiny desk concert. whereas eunha wanders across the stage, into the audience pit, towards the judges' elevated platform area, twirling and dancing around like a nature spirit with a microphone in hand, yulan remains inside the shack, a livestream of her performance being shown on the screen behind the stage.
the stage begins with yulan playing the opening riff before putting it on loop, adding the drumset live into the loop (and so on and so forth). more improv than an actual rehearsed performance, eunha leads random audience members add in a word (or two), a chord (or two) from the judge panel, as both of them improvise along with the audience interactions. it's kind of like a jacob collier performance without the directing aspect of audience interactions, with eunha doing most of the improv legwork due to her musical background.
while the electronic and glitchy effects will remain, the song will have more of an acoustic sound compared to the studio version due to the changes in performance, leaning more into a yikii-esque horror style instead. because of the general improv style of the stage, angel cries will also have a jazzier feel to it. while audience lyric improvs are included in every part of the performance except the intro and outro, the judge chord changes are limited to verses only.
.
.
stage: start
.
yulan plays the opening guitar riff, looping it once as she sits back down to her synthpad to layer the drum overtop
yulan continues layering effects over to create the opening loop
eunha, sitting in the flower field, legs dangling off the stage, starts singing the intro
yulan loops the intro, distorting it as eunha asks an audience member to in front of her to give her a word
eunha begins to sing the first two lines of the first verse
eunha jumps off the stage and starts wandering inside the audience pit, interjecting cues for others to add lyrics in
yulan continues the continious loop, switching out progressions along the way
eunha motions for the judges to give her lyrics (above) for the chorus
yulan and eunha exchange a look β yulan into the camera and eunha at yulan's display
eunha hops onto the raised platform for the special judges
eunha passes her bass (pretend the guitar in the collage is a bass) to the judges for a random key change
once added into the loop by yulan, eunha starts playing her bass along with the new key
still going ham on the bass, eunha starts the next verse
repeat x times to an energy level both are happy with
eunha takes back control, and directs the crowd to sing the chorus all together
eunha floats back onto the stage and sings the outro alone (original lyrics)
gradually, yulan removes elements out of the loop until there's only a guitar left
stage lights dim; they bow
eunha exits the stage; yulan turns off the camera
.
comments on stage design
.
at the end of the day, the musical ethos of ππππ is to make music that touches people
as much as they appreciate the value of good showmanship, they'd like to focus on the music when they're ππππ
hence, this performance focusing on their musical capabilities as live improvisation is the hardest
both are also aware of the power of interaction and usage of space in the musical experience
that's why they tried to incorporate as much interactions as possible into the stage
.
sources of inspiration
the first stage
.
β (give me a word) [moonlight] fireflies / dark skies [goodbyes] / frail wings, frail minds / (hands over mic) [λλΉ ] flies and cries and dies β
( parentheses ) indicate audience directions, ( italicized parentheses) indicate actions, [ brackets ] indicate audience additions
.
the stage
"My Drawing Room", 2008 by Yoshitomo Nara
NPR's Tiny Desk
"Untitled," 2022 by Sunghwa Kim
unknown artwork by Stephanie Pui-Mun Law
γε¦ζΏγby Rainie Yang, Hu Yutong, Li Runqi
.
eunha
corset by ziwu_artemis
dress and shoes by Susan Fang
hair by nanami_hair (imagine more flowers and less frills)
nails by toto_account__
.
yulan
corset by Matilda Sundkler and Elza White
dress by DAISY
shoes by Susan Fang
custom Toshihiko Takamizawa guitars
.
the stage concept is similar to ε¦ζΏ, a grassy flower field effect all over the stage, with exception of a my drawing room-esque makeshift shack in the middle of the stage, which is fully rigged and shot like a tiny desk concert. whereas eunha wanders across the stage, into the audience pit, towards the judges' elevated platform area, twirling and dancing around like a nature spirit with a microphone in hand, yulan remains inside the shack, a livestream of her performance being shown on the screen behind the stage.
the stage begins with yulan playing the opening riff before putting it on loop, adding the drumset live into the loop (and so on and so forth). more improv than an actual rehearsed performance, eunha leads random audience members add in a word (or two), a chord (or two) from the judge panel, as both of them improvise along with the audience interactions. it's kind of like a jacob collier performance without the directing aspect of audience interactions, with eunha doing most of the improv legwork due to her musical background.
while the electronic and glitchy effects will remain, the song will have more of an acoustic sound compared to the studio version due to the changes in performance, leaning more into a yikii-esque horror style instead. because of the general improv style of the stage, angel cries will also have a jazzier feel to it. while audience lyric improvs are included in every part of the performance except the intro and outro, the judge chord changes are limited to verses only.
.
.
stage: start
.
yulan plays the opening guitar riff, looping it once as she sits back down to her synthpad to layer the drum overtop
yulan continues layering effects over to create the opening loop
eunha, sitting in the flower field, legs dangling off the stage, starts singing the intro
yulan loops the intro, distorting it as eunha asks an audience member to in front of her to give her a word
eunha begins to sing the first two lines of the first verse
eunha jumps off the stage and starts wandering inside the audience pit, interjecting cues for others to add lyrics in
yulan continues the continious loop, switching out progressions along the way
eunha motions for the judges to give her lyrics (above) for the chorus
yulan and eunha exchange a look β yulan into the camera and eunha at yulan's display
eunha hops onto the raised platform for the special judges
eunha passes her bass (pretend the guitar in the collage is a bass) to the judges for a random key change
once added into the loop by yulan, eunha starts playing her bass along with the new key
still going ham on the bass, eunha starts the next verse
repeat x times to an energy level both are happy with
eunha takes back control, and directs the crowd to sing the chorus all together
eunha floats back onto the stage and sings the outro alone (original lyrics)
gradually, yulan removes elements out of the loop until there's only a guitar left
stage lights dim; they bow
eunha exits the stage; yulan turns off the camera
.
comments on stage design
.
at the end of the day, the musical ethos of ππππ is to make music that touches people
as much as they appreciate the value of good showmanship, they'd like to focus on the music when they're ππππ
hence, this performance focusing on their musical capabilities as live improvisation is the hardest
both are also aware of the power of interaction and usage of space in the musical experience
that's why they tried to incorporate as much interactions as possible into the stage
.
sources of inspiration
yulan's loop creation process
yulan's general vibe and interior setup
eunha's performance style, but more nymphlike/ethereal
eunha's general vibe and vague stage setup style for start & end
yulan's general vibe and interior setup
eunha's performance style, but more nymphlike/ethereal
eunha's general vibe and vague stage setup style for start & end
Last edited:
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