>>73851354okay, I'll start but it'll be potentially a hefty tl;dr
>>73851465>>73851353on the starting note, I think these guys have a bit of a point while
>>73851420 are just plain trolls with like, zero actual idea of what they're talking about
Mori music already started taking a bit of a hit around the release of Unalive and joining UM both overshadowed that while giving the initial releases a good attention buff, but it already signaled some things that'd impact her song growth down the line (side from the YT algo changes which were honestly most impactful on Holo music in general)
the reasons were multiple, but going from the most important to least, I'd say it goes
>lack of consistent musical identity>lack of quality MVs>lack of live events>issues with stricter UM rights management reducing promotion venues in internet spaces>mixed reception on social media>less interaction with the general EN scene>lack of consistent musical identitybiggest "issue" though for some it might be a plus - Mori started with weird hybrid of melodic rap and electroswing, sometimes going into rock/jazz inclusions, it was a sound pretty unique to her but generally what people could expect
starting with UnAlive, which was purposefully experimental and had inclusions of stuff like ballads and idol pop or even some EDM-like tracks, she then had a switch to poppy sounds with some more standard hip-hop inclusions, only to experimental it up again with Sinderella (which has more EDM, city pop, more j-rock focused tracks, trap etc.), to Jigoku 6 which was almost completely divorced from her usual sound, to her single releases (Ketatama, Overkill) which are completely different genres altogether while Suisei you get jpop with powerful vocal, with Kobo you get indopop love songs and with Kiara you get mainly kpoppy vibes
it's interesting but also incredibly schizophrenic if you consider all these changes were jammed in around 3 years when it takes some bands in the mainstream actual decades or more to evolve from one sound to another - and it obviously might not play well with people who are still listening to EoaL or RIP 4 years later
>lack of quality MVsthis is mainly UMs fault due to their decision to spread the budget thin on a spam of low quality releases instead of consolidating the budget, but a high quality or at least an eye catching MV is a MUST in current environment and the best video Mori got in a while (that wasn't one of her covers) had been Overkill, which belongs to a non-loopable genre
>lack of live eventsprobably a shared problem between UM, Mori and Cover - the second sololive that was supposedly already being planned soon after the first one had been dragging its feet since forever to the point Mori isn't even sure anymore if she will get one at all, though her insistence on pushing for an US event is not helping it at all, and Cover might also be raising objections with their gay queue system so girls with outside help don't get an "unfair" advantage
>issues with stricter UM rights management reducing promotion venues in internet spacesa lot of Holo music gets popularized thanks to natural organic spread through internet media, but if short makers or Twitch streamers are worried their shit will get muted or taken by UM, that venue dies - you don't see 8-bit drummer doing Mori songs anymore, you see way less covers, you don't see them played on random Twitch streams and now they're also dead on TikTok
that's mindshare death
>mixed reception in social mediaMori became a chew toy for a lot of eternally online Twitter kids and she's a "fair" target cause of her "racist" views, so a lot of people who didn't even listen to a single song start with an impression of "Mori bad" - this is fairly apparent whenever audience that is exposed to her unknowingly actually enjoys the output (recent cases with both Future Island and Go Getters)
her recent output being straddled with stinkers kidz bop tier stuff made on UM demand (Holy Shitto, I'm Greedy, Sneaking) doesn't help
>less interaction with the general EN scenethis will be an unpopular take on /#/, but Mori retreating more into JP professional scene as a non-JP artist really isn't helping her much
the fact that she could win Fillian's vtuber award while not even being around and going against Suisei shows that there's still a level of interest and investment in her as a musician from western fans, but where past Mori probably would still fight for that collab song with Charlie or Numi (and while it does not please me to say it, shit like that would probably pop off like wild), today's Mori is fine with working with Jap Artist #5464768 prompting an "oh, cool" at best from the wider EN scene
her music is still doing well, relatively, especially on streaming platforms that don't run into some of these issues natively (you don't have to worry about MV quality on Spotify or Apple Music, for example), but it's definitely kneecapped by all of the above