>>20755210>>20755645>>20755407>>20756134I swear to god deadbeats, if you get any more dense you're gonna have to start being called diamondbeats. Enjoy your spoonfeed.
>ContextMori mentioned leading up to the album that it's largely designed to give an "answer" to the "questions" raised in her previous works, with the most salient of them all being End of a Life:
>Drowning so long, I got older>Now the crowd's gone, is it over?As her lyric dive made crystal clear, that piece was about coming to terms with her new identity as an idol, and how it (and the global circumstances which made her rise to fame an option in the first place) have irrevocably changed her and separated her from the things she used to love and believe in. Beautiful as it was, a handful of anons took it as a slight against her genmates, and too many deadbeats were too busy diluting it down to "I'm done with the underground, thank you forever" to realize she was never actually saying that, let alone that she had no answer at all to the question of:
>Now that my old soul's finally gone, what the hell is the rest of my story going to be about from here on out?UnAlive, as a whole, is a piece-by-piece exploration of what comes after death/deification, about what it means to live on after that endpoint, using the metaphor of being an undead who hunts undead to illustrate the paradox she's been grappling with for the past year or so.
>1. UnAliveThe story's prologue, in the style of a flashy anime OP that Mori would have liked even before she fell into the world of NicoRap. She simultaneously stares down her past, present, and future, and is overwhelmed by a longing for the past, an inability to find closure no matter how far she flies, and an agonizing pressure from both the "Beast" within and the "Beats" to play her necessary "lore" as a hollow void, an infinite womb. Its past-tense sections are focused solely on the story already covered in End of a Life, how music gave her hope, and how she fought back against the looming impossibility of the indie scene. There's callbacks to Red, Ijimekko, and TGRIALS, with bits foreshadowing the throughlines she'll be following in the other tracks, but it comes to a head in the breakdown rap:
>The soul is divided>Colder inside, the dice /Roll is decisive>Must have it nice>A gorgeous device /To trick and entice, it’s got a priceAs the strings hammer into a staccato ostinato emblematic of slasher films and Shostakovich, Mori wages an all-out war on herself, echoing everything schizos say about her constant lies, how her only hope for success is "Diamonds or spades / The lies and charades" and how Yukisame's "gorgeous device" is the only reason she can "trick and entice" deadbeats into thinking she belongs in this field. And because she knew you faggots would miss the point entirely she forced the animator to literally stage a fight scene between Mori and Evil Mori wearing a Fake Idol Whore Mask. She starts to tease an absolute downer ending, one where she rejects "a dead body" from her new life but "don't need no soul" from her old life.
But then the last section shifts into a major key while she vows to keep fighting no matter what. And then, just in case none of this landed, she spells out the entire album's thesis in the last two lines, after "ignoring the lore" keeping her in this catch-22:
>もう戻れない (I can't go back)>In Death, I’m somehow more aliveAnd then the next few tracks are going to explain, step by step, what she means by that.
