Songs by CORTIS That End Before 3 Minutes

Rather than focusing on the first impression, let’s check the structure first. 'GO!' is a track that declares the team's first movement with a short and bold chant and a striking rhythm. This track, positioned as the first of the twelve, serves as a sample to examine what is left in and what is omitted within its short length. The official runtime is 2 minutes 50 seconds, and it's included in the 'COLOR OUTSIDE THE LINES - EP'. Feeling the ratio of the verse and chorus relative to the length of the playback bar reveals that compression is different from simple speed competition.

Instead of starting a stopwatch, compare the time it takes to get from the introduction to the first hook with the overall length. Then, separately record the sense of pace and the ambiance of wanting to hear more due to its short length. When it ends, label the point that feels the most disappointing as either an additional chorus or a bridge, and conversely, choose a part that would have lost its strength if repeated once more. The key is to determine whether the impression that it’s a song that "declares the team’s first movement with a short and bold chant and a striking rhythm" is sufficiently completed within the limited time.

Playing 'GO!' twice in succession, the gap between the end of the first and the start of the second also sounds like part of the song structure. Record whether it feels complete with a single play or calls for repetition, and compare the information density with other tracks of similar lengths. The breakdown in seconds should contrast with the official audio attributes, and we don’t simply conclude it’s incomplete just because it’s short.

Let’s put the familiar hook aside for a moment. 'FaSHioN' transforms the language of wearing clothes into self-expression, featuring unique pronunciation and rhythm. Positioned as the second track of the twelve, this piece examines what is retained and what is omitted within its short length. The official runtime is 2 minutes 54 seconds, and it's included in the 'COLOR OUTSIDE THE LINES - EP'. Acknowledging the ratio of verse and chorus to the length of the playback bar highlights that compression differs from simple speed competition.

Rather than starting a stopwatch, listen to see if one repetition has been reduced or if the bridge has been condensed. Next, compare the time it takes to go from the introduction to the first hook with the overall length. When it concludes, label the most disappointing section as either an additional chorus or a bridge, and conversely, choose a part that seemed to lose energy if it had been repeated once more. The key is to determine whether the impression that it’s a song that "transforms the language of wearing clothes into self-expression, featuring unique pronunciation and rhythm" is sufficiently completed within the limited time.

Playing 'FaSHioN' twice in succession, the gap between the end of the first and the start of the second also sounds like part of the song structure. Record whether it feels complete with a single play or calls for repetition, and compare the information density with other tracks of similar lengths. The breakdown in seconds should contrast with the official audio attributes, and we don’t simply conclude it’s incomplete just because it’s short.

Let’s play while leaving the end of the previous entry. 'JoyRide' captures the joy of moving together while leaving a relaxed sense of space, contrary to its racing title. Positioned as the third track among the twelve, this piece examines what is retained and what is omitted within its short length. The official runtime is 2 minutes 37 seconds, and it's included in the 'COLOR OUTSIDE THE LINES - EP'. Feeling the ratio of verse and chorus relative to the length of the playback bar reveals that compression is different from simple speed competition.

Instead of starting a stopwatch, separately record the sense of pace and the ambiance of wanting to hear more due to its short length. Then, check if one repetition has been reduced or if the bridge has been condensed. When it ends, label the most disappointing section as either an additional chorus or a bridge, and conversely, choose a part that seemed to lose energy if it had been repeated once more. The key is to determine whether the impression that it’s a song that “captures the joy of moving together while leaving a relaxed sense of space” is sufficiently completed within the limited time.

Playing 'JoyRide' twice in succession, the gap between the end of the first and the start of the second also sounds like part of the song structure. Record whether it feels complete with a single play or calls for repetition, and compare the information density with other tracks of similar lengths. The breakdown in seconds should contrast with the official audio attributes, and we don’t simply conclude it’s incomplete just because it’s short.

Let’s contrast the expected scene from the title with the actual sound. 'Lullaby' lowers the high energy of the debut EP and closes the night with a gentle voice and resonance. Positioned as the fourth track among the twelve, this piece examines what is retained and what is omitted within its short length. The official runtime is 2 minutes 44 seconds, and it's included in the 'COLOR OUTSIDE THE LINES - EP'. Feeling the ratio of verse and chorus relative to the length of the playback bar reveals that compression is different from simple speed competition.

Instead of starting a stopwatch, compare the time it takes to get from the introduction to the first hook with the overall length. Next, separately record the sense of pace and the ambiance of wanting to hear more due to its short length. When it ends, label the most disappointing section as either an additional chorus or a bridge, and conversely, choose a part that would have lost its strength if repeated once more. The key is to determine whether the impression that it’s a song that "lowers the high energy of the debut EP and closes the night with a gentle voice and resonance" is sufficiently completed within the limited time.

Playing 'Lullaby' twice in succession, the gap between the end of the first and the start of the second also sounds like part of the song structure. Record whether it feels complete with a single play or calls for repetition, and compare the information density with other tracks of similar lengths. The breakdown in seconds should contrast with the official audio attributes, and we don’t simply conclude it’s incomplete just because it’s short.

Let’s maintain a consistent volume while finding the center. 'TNT' opens the door to the second era with tension just before an explosion and a solid beat. Positioned as the fifth track among the twelve, this piece examines what is retained and what is omitted within its short length. The official runtime is 2 minutes 2 seconds, and it's included in the 'GREENGREEN_playextended'. Feeling the ratio of verse and chorus relative to the length of the playback bar reveals that compression is different from simple speed competition.

Instead of starting a stopwatch, check if one repetition has been reduced or if the bridge has been condensed. Then, compare the time it takes to get from the introduction to the first hook with the overall length. When it ends, label the most disappointing section as either an additional chorus or a bridge, and conversely, choose a part that would have lost its strength if repeated once more. The key is to determine whether the impression that it’s a song that “opens the door to the second era with tension just before an explosion and a solid beat” is sufficiently completed within the limited time.

Playing 'TNT' twice in succession, the gap between the end of the first and the start of the second also sounds like part of the song structure. Record whether it feels complete with a single play or calls for repetition, and compare the information density with other tracks of similar lengths. The breakdown in seconds should contrast with the official audio attributes, and we don’t simply conclude it’s incomplete just because it’s short.

Let’s use the quietest moment as a reference point. 'REDRED' is a song that pushes the image of repeated colors with a strong hook and movement. Positioned as the sixth track among the twelve, this piece examines what is retained and what is omitted within its short length. The official runtime is 2 minutes 43 seconds, and it's included in the 'GREENGREEN_playextended'. Feeling the ratio of verse and chorus relative to the length of the playback bar reveals that compression is different from simple speed competition.

Instead of starting a stopwatch, separately record the sense of pace and the ambiance of wanting to hear more due to its short length. Then, check if one repetition has been reduced or if the bridge has been condensed. When it ends, label the most disappointing section as either an additional chorus or a bridge, and conversely, choose a part that seemed to lose energy if it had been repeated once more. The key is to determine whether the impression that it’s a song that “pushes the image of repeated colors with a strong hook and movement” is sufficiently completed within the limited time.

Playing 'REDRED' twice in succession, the gap between the end of the first and the start of the second also sounds like part of the song structure. Record whether it feels complete with a single play or calls for repetition, and compare the information density with other tracks of similar lengths. The breakdown in seconds should contrast with the official audio attributes, and we don’t simply conclude it’s incomplete just because it’s short.

Let’s listen to the difference between the first and second repetitions. 'ACAI' combines the sensation of an unfamiliar word with a flexible rhythm, changing the texture of the album. Positioned as the seventh track among the twelve, this piece examines what is retained and what is omitted within its short length. The official runtime is 2 minutes 53 seconds, and it's included in the 'GREENGREEN_playextended'. Feeling the ratio of verse and chorus relative to the length of the playback bar reveals that compression is different from simple speed competition.

Instead of starting a stopwatch, compare the time it takes to get from the introduction to the first hook with the overall length. Next, separately record the sense of pace and the ambiance of wanting to hear more due to its short length. When it ends, label the most disappointing section as either an additional chorus or a bridge and conversely choose a part that would have lost its strength if repeated once more. The key is to determine whether the impression that “combines the sensation of an unfamiliar word with a flexible rhythm, changing the texture of the album” is sufficiently completed within the limited time.

Playing 'ACAI' twice in succession, the gap between the end of the first and the start of the second also sounds like part of the song structure. Record whether it feels complete with a single play or calls for repetition, and compare the information density with other tracks of similar lengths. The breakdown in seconds should contrast with the official audio attributes, and we don’t simply conclude it’s incomplete just because it’s short.

Let’s pick an instrument hidden behind the voice. 'YOUNGCREATORCREW' is a song that boldly declares the creative identity the team has put forth right from the title. Positioned as the eighth track among the twelve, this piece examines what is retained and what is omitted within its short length. The official runtime is 2 minutes 56 seconds, and it's included in the 'GREENGREEN_playextended'. Feeling the ratio of verse and chorus relative to the length of the playback bar reveals that compression is different from simple speed competition.

Instead of starting a stopwatch, check if one repetition has been reduced or if the bridge has been condensed. Then, compare the time it takes to get from the introduction to the first hook with the overall length. When it ends, label the most disappointing section as either an additional chorus or a bridge, and conversely, choose a part that would have lost its strength if repeated once more. The key is to determine whether the impression that it’s a song that "boldly declares the creative identity the team has put forth right from the title" is sufficiently completed within the limited time.

Playing 'YOUNGCREATORCREW' twice in succession, the gap between the end of the first and the start of the second also sounds like part of the song structure. Record whether it feels complete with a single play or calls for repetition, and compare the information density with other tracks of similar lengths. The breakdown in seconds should contrast with the official audio attributes, and we don’t simply conclude it’s incomplete just because it’s short.

Let’s go back to the beginning from the last resonance. 'Blue Lips' weaves together cold tones and soft breathing to create deep spaces in the latter half. Positioned as the ninth track among the twelve, this piece examines what is retained and what is omitted within its short length. The official runtime is 2 minutes 21 seconds, and it's included in the 'GREENGREEN_playextended'. Feeling the ratio of verse and chorus relative to the length of the playback bar reveals that compression is different from simple speed competition.

Instead of starting a stopwatch, separately record the sense of pace and the ambiance of wanting to hear more due to its short length. Then, check if one repetition has been reduced or if the bridge has been condensed. When it ends, label the most disappointing section as either an additional chorus or a bridge, and conversely, choose a part that seemed to lose energy if it had been repeated once more. The key is to determine whether the impression that it’s a song that “weaves together cold tones and soft breathing to create deep spaces in the latter half” is sufficiently completed within the limited time.

Playing 'Blue Lips' twice in succession, the gap between the end of the first and the start of the second also sounds like part of the song structure. Record whether it feels complete with a single play or calls for repetition, and compare the information density with other tracks of similar lengths. The breakdown in seconds should contrast with the official audio attributes, and we don’t simply conclude it’s incomplete just because it’s short.

Let's write down the official information and your impressions separately. 'PACK IT UP' is a song that announces a fresh start to the extended version with the momentum of packing up and leaving again. Positioned as the tenth track among the twelve, this piece examines what is retained and what is omitted within its short length. The official runtime is 1 minute 52 seconds, and it's included in the 'GREENGREEN_playextended'. Feeling the ratio of verse and chorus relative to the length of the playback bar reveals that compression is different from simple speed competition.

Instead of starting a stopwatch, compare the time it takes to get from the introduction to the first hook with the overall length. Next, separately record the sense of pace and the ambiance of wanting to hear more due to its short length. When it ends, label the most disappointing section as either an additional chorus or a bridge, and conversely, choose a part that would have lost its strength if repeated once more. The key is to determine whether the impression that it’s a song that "announces a fresh start to the extended version with the momentum of packing up and leaving again" is sufficiently completed within the limited time.

Playing 'PACK IT UP' twice in succession, the gap between the end of the first and the start of the second also sounds like part of the song structure. Record whether it feels complete with a single play or calls for repetition, and compare the information density with other tracks of similar lengths. The breakdown in seconds should contrast with the official audio attributes, and we don’t simply conclude it’s incomplete just because it’s short.

Let's consider the connecting role between the tracks. ‘MONEYMONEYMONEY’ is a song that utilizes the addictive nature of repetition and visual rhythm to clearly close out the expanded edition. Positioned as the 11th track out of a total of 12, this piece serves as a sample to examine what is included and what is omitted within its short duration. The official running time is 2 minutes and 19 seconds, and it is included in ‘GREENGREEN_playextended’. If you first sense the proportion of verses and choruses in relation to the length of the playback bar, it becomes evident that this compression is different from mere speed competition.

Instead of starting a stopwatch, listen carefully to see if the repetition has decreased once or if the bridge has been compressed. Next, compare the time taken from the introduction to the first hook with the overall length. Name the section that feels most regrettable when it ends—is it the additional chorus or the bridge? Conversely, if something felt weaker when repeated, select that part as well. The key is to determine whether the impression of ‘a song that utilizes the addictive nature of repetition and visual rhythm to clearly close the expanded edition’ is fully realized within the limited timeframe.

When you play ‘MONEYMONEYMONEY’ twice in a row, the gap between the end of the first play and the start of the second feels like part of the song structure. Record whether it feels complete with a single play or calls for repetition, and compare the information density with neighboring tracks of a similar length. The timing in seconds should be contrasted with the attributes of the official audio, but just because it's short, we don't hastily conclude it to be incomplete.

Let’s listen once while moving and once while stopping. ‘MOTION (feat. Juicy J)’ is a single that broadens the scope of CORTIS through the contrast of heavy movements and collaborative raps. Positioned as the 12th track among 12, this song serves as a sample to examine what is included and what is omitted within its short duration. The official runtime is 2 minutes and 37 seconds, and it is included in ‘MOTION (feat. Juicy J) - Single’. If you first sense the proportion of verses and choruses in relation to the length of the playback bar, it becomes evident that this compression is different from mere speed competition.

Instead of starting a stopwatch, separately note the sense of speed that arises from its brevity and the longing for more. Then listen to see if the repetition has decreased once or if the bridge has been compressed. Name the part that feels most regrettable when it ends—is it the additional chorus or the bridge? Conversely, if it felt weaker when repeated, select that portion as well. The key is to determine whether the impression that ‘this single expands CORTIS's width through a contrast of heavy movements and collaborative rap’ is sufficiently realized within the limited time frame.

When you play ‘MOTION (feat. Juicy J)’ twice in a row, the gap between the end of the first play and the start of the second also sounds like part of the song structure. Record whether it feels complete with a single play or calls for repetition, and compare the information density with neighboring tracks of a similar length. The timing in seconds should be contrasted with the attributes of the official audio, but just because it's short, we don't hastily conclude it to be incomplete.