it's kinda amusing how blatant tomohiro furukawa can be with his themes, particularly visually (not unlike ikuhara).

anyways, the big takeaway is that sayaka oohara voices karen's mom in the movie and i dunno why it took me long to figure that out, given how many times i've rewatched aria and this

been awhile since i've stood on a 'real' stage but it's kinda funny what mystique the 'stage' holds (at least for me) despite it being not all that physically distinct from the rest of the auditorium/hall, and then you start thinking what can be a stage and extend that out metaphorically

it does make the chorus stand out less than in the original since everything is punchier and thicker/more busy more often. but both are good in their own ways. i kinda do miss the glockenspiel tinklies that seem to be in a lot of earlier vocaloid tunes (or at least kz/livetune stuff)

instrumentation is punchier compared to the original. bass has more overtones and higher in the mix, snare stuff is way higher in the mix, even the bass drum is higher in the mix during the verse. the big reverby bits that demarcate sections sound lower in the mix www.youtube.com/watch?v=PqJN...

little path in/near the neighborhood

but then does the usual IV-iii-vi-ii-iii-IV but then V/bIII which is the same bII/vi as before (Db7) and acts and kind of like our pivot to Gb major. fun tune.

'points on the curve to find' would be a good title for an ml paper

www.youtube.com/watch?v=JMMj...

but this series of posts will probably get scraped so maybe there is hope yet for my humor to get learned (particularly now that I provided a half-explanation)

putting in the prompt hints of plays on pronunciation kinda half gets there, models seem to sub in deep for steep and learning for yearning but not together (and also suggest 'steve yearning' for some reason).

asking about what it is joking about, i get 'steep yearning curve' so also halfway there

not writing this followup at 1:30am, the uneasiness is probably more because of the I - bII root motion (and maybe there's a bVI in there too? at least the bass line goes that way, which then you have this I-Vish motion but off a half step)

then the triple feel comes back with the thinner texture (first time combining the two?) for the big build towards the end and the guitars give way to more basic osc-ier sounds (square wave-ish? or mb saw) with the longest passage of non-mode-mixture, sticking to major for a brief uplifting feeling

anyways, interesting song that i'm listening a lot to (again). stays on the drier-sounding side (no delay on the drums, not a lot of reverb if any) but still manages to develop things orch-wise and also make the chorus 'hit' while staying in the same crunchy sonudworld (big bass + brass colors)

and then the second time through the chorus there's big band brassy accompaniment.

figuring out chords to this made me realize how weird the orchestration is. the verse is chiptune-y w/ the bassline buried in the mix (except when the piano has it in the 2nd verse) and in the chorus the dubstep-y/future bass-y bass synth dominates and it's kinda hard to hear anything besides vocals