>>10678616Fuck outta here, tourist. I did that last thread and got way too many (You)s for the most basic bitch reading of the lyrics.
Tonight we're doing musical analysis.
This song is Mori's first original to be in a major key - specifically B flat major, the relative key of the G minor she used in RIP and Cursed Night. To put it simply, the "palette" of notes she and Patterns are using for this song are a brighter, "happier" set than ever before. Most Hololive originals are in a major key, and sticking exclusively to minor was a major thing setting apart her works as edgier than the rest. This shift into major could represent Mori coming to terms with her life as an idol and saying goodbye to the grind, and making it a foil to RIP/CN could be a subtle hint that this song is a brighter outlook on the subjects from those songs. It could also be a coincidence, or a key she naturally prefers when she's not relying on heavy instrumentals, since it's the same set of notes she used for the ASMR acapella of Live Again, but then how do you explain why the first songs of her EPs share D minor while the last songs share A minor?
Most of the hook's melody revolves around Mori sliding between the second and third notes (C-D-C-D), almost never resolving down into the central first note like most of her other melodies do. This has two main effects: Focusing on the third note in any song highlights its major/minor status, in this case playing up the song's lightness/sentimentality. But it's also a much weaker finish than going back to the first note, as if Mori's doing a duet part and singing along with some missing first person. When she ends the song on that "C to D", it colors the word "over" with a feeling of lightness and uncertainty, so the listener can hear the "...?" inside her voice.
But this song has plenty of that first note, B flat - the piano plays it at the end of most phrases, and all over the verses. Combined with Mori's uncertain D above, the two resonate well despite not lining up - as if the closure the song needs is right there staring her in the face and she's trying as hard as she can to avoid it. Here's the handful times she DOESN'T dodge, actually lands on the note the piano keeps begging her to hit: (the actual B flats are in CAPS)
>Just what the hell was so FUNNY?>is the me that I can never BEFRIEND. i LET it GO>But was there ever a soul INSIDE?>What is there to MISS?>I'll keep WAITING>*singing part after the hook*>*humming part after the above*Your Boy has taken the moments where her voice is the most aligned with the track, where she SHOULD be at her boldest lyrically, but most of these are popping up in the verse where she's only supposed to be rapping. And all of them are either a question or left without words entirely....except for this one:
>Is the me that I can never befriend. ...I let it go>>10676724So I think you have a point here. From the lyrics alone I didn't get the sense that the whole thing was all about her past self, but from the way the song itself is constructed (which we know was painstaking enough that she got a migraine and almost scrapped the whole thing), her alternate timeline self is getting a laser-focused spotlight usually reserved for lines like these:
>と言ったら、幸せ (Signing off)>この絶望…>I'd rather just...Fade away>And smile while you do Love, the me that's killing youIt's the kind of shit she ends songs with, not the shit she sticks at the end of the first verse. Having the "grand finale" so soon in the song might be a depiction of how it feels to get everything she ever dreamed of so suddenly, in a way that she said over and over again "feels like a dream".
And no, I will not take my meds.
