Lee Hi - 1,2,3,4 (Areia Remix)

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Thank you for watching this video! My name is Jun Areia and I'm an artist developer and producer based in Seoul, South Korea since 2009. Through Areia Remix, I attempt to offer re-imagined EDM versions of your favorite K-pop songs and share my love for the Korean culture to the world!

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⭐ Credits:
This remix is not a commercial release and is created for promotional and entertainment purposes only; all Youtube ad revenue is automatically received by the original K-pop artists.
Vocal Recording, Lyrics, Music Video Copyright©2012 YG Entertainment
Remix produced by Jun Areia
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ORIGINAL Description:

Release Date: 2013.04.07
Genre: Electro House/Minimal
Tempo: 124 bpm
Key: Gm

When I listen to non-cheesy great sounding vocal melodies I feel slowly lifting in the sky. My way of interacting with such beautiful melodies is to ditch the original instrumental -- no matter good or not -- and make mine. What happens though in the case where the vocals are so well sung and edited that the accapella alone is good enough to be in the top-10 kpop? Why overshadow such good vocals with excessive synth sounds? Everything this song needs is actually in the vocals. Then the lyrics talk about this strong but at the same time sensitive girl that is ready to move on. How can such feelings be conveyed to the underlying music?

Simplicity is everything. For example in Minimal House music you rarely get more than 3~4 sounds playing at the same time and making such a track interesting enough is an art on its own. My job here of course was much easier since the vocals are the focus of the song -- and that's exactly how I was planning to keep it. Why destroy such fantastic angelic vocals with some random pad or arp sound? All they needed to work was rhythm and that's how the deep yet clicky drum kick and the hard house percussion earned their place in the mix. But that alone of course wasn't enough in order to give some movement to the song there was the need of a bassline.

The chord progression is a simple jump from Gm to C during the 3rd bar and then back to Gm on the 4th. In order for a club song to sound heavy it needs the element of monotony in its bassline and the song's simple chord progression helps that a lot. For that reason I've designed a thick plastic bassline that runs in two modes: one playing short notes used in the first part of the verse and the pre-chorus and one with automated pitch variations playing during the second part of the verse and the chorus.

Finally during the bridge the chord progression becomes a little more tasteful with some nice 7ths which meant some nice retro-pads as they usually rock when played in 7ths. The original bridge's chord progression intention was probably to drive the song to a new place before returning it home during the chorus. I didn't like such approach that much so I've decided to continue that trip during the final chorus. That was achieved by maintaining and emphasizing the pad sounds since the extra back vocals on the final chorus make it possible that the vocals still stand out no matter the amount of noise under them.

There were a couple of other attempts during this remix one which included making some nice mainroom melody to build up towards the chorus but it wouldn't fit the meaning of the lyrics so I have decided to put the angelic synth sounds back for now.