There is no "usual" Band-Maid song! They are extremely diverse! Great reaction, thank you. The song is about falling in love with a married man and all the deceit and lies that entails. She mentions the small things he leaves at her home and "I don't care what number I am". The rock version is sang with bitterness and resentment, like an argument, while the acoustic is sang with heartbreak and despair. In my humble opinion it's a masterpiece of composition and execution.
Having been in that situation myself, Miku's lyrics and Saiki's delivery perfectly capture the manic desperation of the "other woman" (or man, as the case may be).
You're welcome, I'm glad you liked the reaction! > There is no "usual" Band-Maid song! This is exactly what I expected to hear 😄That's good, too! I quite enjoy different stuff every time 👍 Yeah, you're right, the lyrics heavily lean towards the affair interpretation. I wonder if I'd feel differently about the small wiggle room left if the lyrics were in English 🤔 It's cool that the song works with the different feels, as you described, depending on whether it's the rock or the acoustic version. The contrast between the two versions is probably my favorite thing about the whole experience.
They have done about 20 of their songs in an acoustic version. All different from the "full" to some degree. Kanami uses a keyboard to compose, so it could be said that all their songs start out as an acoustic. For an even more interesting take, look into Alexej Bagrintsev. He has a RUclips channel with many cello covers of Band Maid. Great stuff showing off the beauty of Kanami's compositions.
That's good! More acoustic versions = more better👍 That Alexej Bagrintsev guy is pretty good! I checked out Puzzle and Show Them, which are the only songs I've heard that he has covered, and wow! Show Them especially felt like I was listening to the original. I am impressed.
Thank you for taking suggestions from the comments and doing both versions back to back as I suggested. I thought you would enjoy it. I also enjoyed you speculating what would be done different. I was smiling inside, thinking...oh, he's going to be surprised and I think he's going to be blown away. And the "Wow" here an there with a huge smile, were priceless and validated my thoughts. Your expression at the guitar into, nice. And Kanami doing the backing vocals...voice of an angel. The first time I heard the acoustic version. Goosebumps on goosebumps...LOL. @Davey-Boyd covered what I was going to say about Saiki's emotions behind her singing. A contrast in emotional delivery. Anyway, fantastic breakdown again. Glad you have a large list, as that just means tons more reactions to the Maids! I'm down for that. If you stick to the list, "From Now On" next? 🔥🔥🔥 PO! 🕊 🤘😆🤘
Thank you for suggesting going over the acoustic version as well, I did enjoy it quite a bit! "Blown away" captures how I felt after hearing the acoustic version 😄That could only work so well after I'd heard the rock version of the song! I love it when my expectations are trampled 👌 The contrast in emotional delivery was a really good touch and a smart way to go about transforming the song for the acoustic version. Kanami's backing vocals were straight out of Heaven indeed! I was not ready for that! I do intend to stick to the list, so "From Now On" seems likely, but there's a gang gathering for Giovanni + the instrumental version, inspired by the two versions I went over in this song. Currently "From Now On" is still ahead though.
As awesome as it is, I don't know why they released a second OMV of No God & Sense, or even Puzzle from this Garden concert rather than the better, imo, 2017 Studio Coast version. But as Gary Holloway said in one of his comments, maybe they just wanted these songs out with a "live" audience (although it's a stifled audience due to COVID restrictions of mask and no singing or yelling) to help sell the new DVD/BD drop -- which I just received. The 90 minute documentary of their recent USA tour is fascinating and a real tear jerker! Kanami was in worse shape than I had realized toward the end of the tour. It's a must see for fans! Thx, bsdsuPASTA!
The descriptions of the videos say they are from January 2023. Were there COVID restrictions in Japan at that time? Either way, I would not be surprised if they prefer to release more recent performances, so a 2023 performance would take priority over a 2017 performance. It could be any one of many reasons, really. Is that documentary available to watch somewhere or is it exclusive to the the DVD/BD? I wouldn't mind watching it but a quick google search doesn't come up with anything.
Thanks for another entertaining analysis! Puzzle is a masterpiece, both musically and lyrically. The lyrics are coming from someone who, at the very least, has been cheated on ("Don't care what number I am", "Step outside and we seem strangers"). In the full-band version, the instrumental lines play off against Saiki's passionate vocal line. Kanami's ostinato pattern almost feels like an anxious heartbeat that morphs into emotional flare-ups. The acoustic version takes on a much more plaintive quality. I love how Saiki practically acts out the drama in front of you. Words are hardly needed.
You're welcome, I'm glad you found the analysis entertaining! I think the usual interpretation of the song is that the speaker is the mistress of someone in a relationship, in which case I'm not sure that counts as being cheated on, but the lyrics can also be interpreted as the speaker being the person in a relationship who knows her partner is cheating on her. That's an interesting take! Kanami's guitar representing the speaker's internal state is my guess too. But then when something like that happens I always think "but don't they compose the music first and then write the lyrics to the music?" I suppose if both of those things are true then Miku is a pretty good lyricist. Saiki's presence was good in both versions of this song, I agree 👍
@@bsdsuPASTA Yes -- although we have no idea how much Kanami and Miku talk, I wouldn't push the idea that Kanami knew any of the lyrical content in advance. OTOH, she's absolutely a musical storyteller. It's then up to Miku to translate the instrumental / vocal interactions and tonal movement into words. And I think she does that brilliantly. Again, great stuff!
@@philcalvino884 That's true. The template of their work process that we have on the outside is probably only a vague representation of what actually goes on inside, too. They can also go back and change stuff to fit the lyrics better at a later point if they choose to. Whatever way they went about it, if they did tie the lead guitar to the emotional content of the lyrics that's a top move in my book 👌And if Miku retrofitted it to the music that's an even more top move!
You are very welcome! I'm delighted to hear you liked the reaction ❤ I hope my next BAND-MAID reaction won't take so long and won't suffer any technical difficulties 🤞
I am not one to sit and pick a song apart...the song either works for me or it doesn't Everything that I have heard from Band Maid works for me! However... Three things about this song. 1......Saiki has to sing a lot of words. As another reactor once said while watching the full on, make your ears bleed, arena rocking version... "Take a breath Saiki".... 2.....The lyrics are written by Miku. So Saiki has to interpret the pain and the anguish and then deliver this fabulous performance in two different forms. 3.....Kanami Tōno......my eyes fill with tears as I write this.... Again, as someone else once commented..."The woman is a bloody genius".
"Maybe they just wanted to add something." As another reactor put it, "Band-Maid...they are unnecessarily good." Yeah, they never settle for good enough, and add elements just because that's who they are.
I heard somewhere (Brandon Sanderson comes to mind with this one, but I'm not 100% sure) something along the lines of "The rules are rules of thumb". To break them effectively you need to know what they are and why they are, and the maids seem to know 👍
@@bsdsuPASTA They don't follow them composing, or playing as individuals. Sometimes, sure. but you never know where one of their songs is going to go and you never know what Misa or Akane or Kanami is going to do next in a song.
@@Kevin6059 I don't know enough about music rules to point out what the maids are or aren't following, but some of the things they do sure come from left field, that much is certainly true 😄
Band Maid songs often subvert expectations of the initial promise when it comes to the direction we think songs will go. Even for longtime fans, some songs take a few listens to truly click. So you are not wrong with certain elements, like the higher pitched guitar tones, being an acquired taste for some people….especially when it comes to some of tracks from Unseen World. That’s one of my favorite parts of Kanami’s writing.
Hm, I should pay more attention to promises and delivery in future Band-Maid songs I check out 🤔Subverting the initial promise sounds like a bold move, I'd like to see how they do it! I do not have an extensive knowledge of Japanese rock and metal, but from what I have heard they really like shredding the high notes in Japan, and unsurprisingly the people who listen to that music seem to really like hearing it. It's not my favorite but I don't really mind it either. I think I am kind of learning how to listen to it to appreciate it better (no promises), but I was looking for something else in this song. Which is 100% on me, not on the composition. Although I still think the first part of the first pre-chorus was a weird choice 😃
@@bsdsuPASTA The higher pitched shredding and note choices definitely took me a bit to get used to, so I definitely understand that part 😂. For me, the subversion of promises is about my expectations. For a lot of music the opening of a song establishes the expectations, the feeling and groove, gives you a through line to follow as you go. Yes there will be drops, tempo changes, and bridges but there’s generally a commonality to it all whether it’s a repeating riff, vocal melody, or rhythm section holding steady. Kanami likes to toy with those expectations. She messes with the sense of time, throws in odd elements, note choices, and many other things that can sound weird or disconcerting on the first listen. I’ve had to learn to not get trapped in my own expectations of what they are going to do. That’s not just in a single song, but from one song to another. You just never know what to expect next lol.
@@davidpinney4091 Yeah I think it takes a while to start hearing how the fast notes "move" and how they relate to each other. At first it sounds like "oh, they're play that part of the fretboard again" 😂 The promise usually sets expectations. I first encountered that concept in novel writing, so I'm not sure how accurately it maps to songs, but the opening usually sets the theme of the book, or in the case of music I would say it helps the listener to "get the vibe" of the song. A very general expectation, as there's only so much you can do with some 10 or so seconds of playing. You can't really foreshadow modulation and tempo shifts. At least I can't think of a good way to do that. That said I don't think I would notice modulation or tempo shifts, as there are songs where I know that happens and I still can't notice the difference. Same goes for accidental notes. If it's not so off that it really stands out, I wouldn't notice. That said, what changes I do notice in Band-Maid songs I quite like, especially if I didn't expect them. There's nothing as good as a quality bamboozle 👌But that can still happen within the expectations from the intro of the song.
Well done sir, because music is totally subjective,, everyones' opinion is correct, it matters what "you" hear, you did a very good job of recalling your impressions, i will sub
Thank you 🙏 I 100% agree with you! Hearing what different things people took out of the same piece of music provides an interesting observation of the art, too.
Kanami's solo grabbed my attention when I first watched an official live video from 2017, in this video, at first was Saiki's passionate vocal delivery, then Akane. The accenting is so tasty in it. Miku and Misa? Come on, it goes without saying. Flawless. This is a story of a woman in love with another woman's man. The story begins where she was reminiscing how it felt like hearing the missing puzzle piece clicked in the right place when she met him, but gradually she started to fear that someday he would leave her behind, towards the end of the story the intensity of her despair and desperation rose, but in the end she accepts that she can't become his first, and stay in love with him as another woman...pretty much this is my interpretation.
I'd say yours is the 'canon' interpretation of the lyrics. At least from what I can notice the text support that version more than all the other ones I've heard (including the one I mentioned in the video). It's a very interesting topic to write about, I don't imagine many others would choose it 👍🕊
@@bsdsuPASTA As a Japanese woman, of course I find the complex emotions and sentiments expressed in there, too, but it is that Japanese sentiments like just wait like a good girl, without any complaint, and resort to being the second. Probably she's pretending it doesn't bother her at all, but the song expresses her true feeling. Here in Australia I see most women just confront men.
@@lurkmerchant Based on the English translation of the lyrics, she is definitely pretending it doesn't bother her when it actually does. The first pre-chorus ends with the lines "Don't care what number I am! Ah, those are just lies" then it goes into the more emotionally charged chorus. I never really stopped to consider the potential cultural reflections in the text, since I assumed any woman who enters in a relationship with a married man is okay with "sharing", at least initially, but that's an interesting way to look at the lyrics. I am not well versed in Japanese culture, but there might be something to that 🤔 I reckon a lot of women are more open to confronting men in Western societies these days in general, not just in Australia. That said I don't have any experience with that either.
@@bsdsuPASTA I find Miku's lyrics in most of their love songs represent a very reserved, quiet type of protagonist (on the face at least). I think young Japanese women are getting more open to confrontation compared to my generation. My great grand aunt was "the second woman" and she was the submissive type, at least that's what she appeared, I just feel it's very Japanese thing to remain silent. Check out Matchless Gum, Anemone and Daydreaming as well. Anemone also has acoustic version, I prefer the studio version better, not just for the guitar solos but type of the protagonist Saiki's vocal melody shows a girl who often holds back her emotions while guitars expresses all her passion, in acoustic, Saiki does the emotional vocal delivery and Kanami's backing chorus and stripped back guitar represent the type of the protagonist , I think.
@@lurkmerchant What you describe certainly fits the depiction of Japanese women in the TV show Shogun (I haven't read the book). I trust your expertise on the matter, as someone with actual experience in Japanese culture 👍 I'll say, young Japanese women being more open to confrontation sounds like a good thing to me, not because I think confrontation is good but because I think freedom of expression is good. I've heard horror stories about the work culture in Japan, too. I hope that gets better as well. I have added "Matchless Gum", "Anemone", and "Daydreaming" to my list. I usually check whatever song was suggested the most, so I'm not sure when I'll get to those songs. I do fancy the idea of checking out Anemone's studio version and then the acoustic version. From what you say, it seems like they do there what they did with Puzzle, both for the studio/live guitars and vocals and for the acoustic ones. That's a smart way to go about it, I think.
You're welcome, I'm happy to hear you liked it! And you won't have to wait for Blooming - ruclips.net/video/cGHR_xojCSQ/видео.htmlsi=xLKmpJA9HyGUAClI I will just note that back when I made that video I was doing the reaction + analysis in chunks, so there's pausing. Also my recording arrangements were different.
@@Chatwin78 All good! I don't really expect people to go research my past videos if they're interested in something. Leaving a comment is plenty fine 👍
I highly recommend Blooming, the live version of Domination, the MV of Warning (not the video with The Warning, the song 'Warning'), the live version of Play, Alone - which is the first Kanami penned song they got to perform...all hell...just watch them all!
I can hook you up with Blooming right now - ruclips.net/video/cGHR_xojCSQ/видео.htmlsi=bkYooBdCsyCXxEA2 I'll just note that I used to do the reaction and analysis "at the same time" by pausing throughout the song back then. Also the recording arrangements are different. The only thing I can promise when it comes to doing more Band-Maid is that currently I intend to do more 😄Hopefully all of them, but life does what it wants, so I can't promise that. I did, however, add +1 to Domination (live), Warning (MV, not the collaboration with TW), Play (live), and Alone. Thank you for the suggestions 👍 If I add +1 to Band-Maid's whole catalogue that's the same as not adding any votes to any song, so I only +1'd the ones you mentioned.
Perhaps you should pay attention to a special Christmas acoustic gig: songs in an acoustic version, a completely different atmosphere, feeling, acustic vs studio. They are aware that unplugged cannot fully recreate the original song as "the same", rather they designed a different orchestration, arrangement... let's say sometimes the vocal melody remains recognizable... or vice versa... anyway, now you have two "entities" instead of one song. For example: the song "Awkward" (live is superior to studio in my opinion) compared to "Akasimahen" Christmas acoustic vs studio version (Band-Maid has an alter ego Band-Maiko, that's a special easter egg). So "Awkward/Akasimahen" exists in three completely different performances, atmospheres... Certainly the live performances are quite different from the studio ones, I have impression that the studio ones are just sketches, while the live ones are "the way they were supposed to be". (Sorry for Google translate) Anyway, you chose the hard way in the reactor world: instead of "wow, uh, like me" your format is much more demanding (more unpopular?!), but it gives me a completely new perspective, an accent on something I missed... And yes, I watch until the last second, 30 minutes spent with your reaction is a much better quality 30 minutes of life than with 5 others who are just hunting for clicks... Just keep it up
I looked up the Christmas special, it seems to be paid subscription content on their website. It's cool that they did acoustic versions of their songs though, I personally quite like hearing acoustic versions of songs I like 👌 I've heard about Band-Maiko. There are a few Maiko songs on my list 😄Though not many people suggest them so I likely won't be getting to them anytime soon. As far as I'm aware the original Band-Maiko April Fool's music was some of their normal songs but sang with a different accent, then later they wrote Band-Maiko specific songs because people loved the meme. Which is a boss move, I have to say. It's cool that between Studio, Maiko and Acoustic some songs have 3 versions. That's quite impressive and it would be an interesting comparison after analyzing the studio/live version, just to see what they changed. (All good, Google translate is doing a fine job👍) When it comes to my videos I make what I like, is what it boils down to. It's definitely an unpopular format, and it takes a lot more time than just a reaction. If you want some numbers, about 40-45% of everyone who clicks on my videos stop watching before the intro ends. That means about 55-60% watch the reaction, while about 20% stick around for the analysis after, and about 10-15% stick for the lyrics bit after. So you can clearly see why most people choose to only do reactions, even if they were interested in analyzing the song (which I imagine most people aren't). Whatever the case, doing only a reaction wouldn't be very entertaining to me, and besides most of the comments I get seem to be from the 20% who watch the analysis and I like the comment section as it is, so for now I intend to keep it up 👍
If you're happy doing two videos per reaction then I highly recommend 'Giovanni', First the full version with Saiki singing, then the white room instrumental version. (It's called an instrumental, but as it has the melody line removed, it's more of a kareoke version.)
I totally agree. In fact the first time I heard Giovanni, I wasn't sure I liked it. It felt a little chaotic for me but after watching the "white room" instrumental version, something clicked and I fell in love with both versions.
Alright, "Giovanni" + the instrumental version x 4 is going on the list (this includes all the +1 replies I currently see)! I don't mind going over two versions of the same song in one reaction video. It's interesting to compare the two versions after analyzing the original. The result is kind of lengthy, but if I don't mind it and you guys would like to see it 🤷♂Sounds good!
Great, great reaction Dude!!!! So interested in listening to more from you. Very incredible analysis, although for me I feel that it is a much more melancholy song if she is the other woman who realizes that he is never going to leave the wife and yet she can't give him up, and the more she spends time on this relationship, she is almost like a drug addict realizing it is not good for her, but she has given it so much of her life now it would make her an absolute waste of a life, unless she hangs on for even a slight hope. Great, great song in both versions and yes, they are so completely different and Saiki has definitely brought more emotion to the acoustic version because it can be really heard. I do love Saiki's voice so much and Kanami's is a compllete and wonderful surprise.
Thanks, I'm delighted to hear you enjoy what I do! ❤ I was going for maximum melancholy feeling with my chosen interpretation as well (which I'm confident isn't what the actual story is supposed to be). It's pretty much the same as yours, but in my preferred version the married man does not have an affair with the speaker of the song, so it's just her fantasizing that something might happen because she's that head over heels in love with him. Unrequited love gives me a stronger melancholy feeling than an affair doomed to stay an affair, personally, but I'll say the affair interpretation from the point of view of "the other woman" is more novel and thus interesting. I like both 👌 The contrast between the two versions is *chef kiss*. Kanami's heavenly harmonies are absolutely amazing!
Hm, breakup, I can see that. I'm not sure how accurate the translation is but in verse 2 they sing "Someday you'll disappear too" and in the bridge "I just want to remain in this dream with no end" which make it sound like they're still 'together' (as much as an affair counts), but I can see the song being about a breakup as well. There's some wiggle room for different interpretations! The different ways Saiki sings in the two versions is a nice touch 👌Having two different feels of the same song is pretty cool.
@@bsdsuPASTAshe's sitting with the couple the husband of which she's been having a doomed affair with realising just by looking at them that he's never going to be hers she'll always be the mistress.
@@Greg-om2hb I thought that she never had a clear break-up, at least at this stage. Miku's recent lyrics show the character learned from her past relationship, still having occasional flashbacks, the trust issue coming to resurface, but trying to step forward (No God). Or the main character finally moved on (page). Matchless Gum - Pazzle - Anemone - Daydreaming - Page - Mirage - No God, kind of feel like a sequel to me.
Hmm... I'm not a guitar player so I'm not positive. Drop C# tuning is definitely possible but most of Band-Maid's songs are in Drop D. It's definitely close to Drop C#.
I just went with what Songsterr said, honestly. My ear couldn't pick up the difference even if my life depended on it 🙁 I was only pointing it out to note that the rhythm will likely be heavier, which has implications for the song in general.
MISA MISA MISA!!!!! this is the first time I TOTALLY disagree with your analysis especially the lyrics but as you say it is all subjective this is my favourite song so maybe I'm a bit sensitive. Look forward to the next one
I think understand where the disagreement comes from. I'll be the first to say the interpretation of the lyrics I went with is not the intended one. I think the conventional affair with a married man is the 'canonical' interpretation. I read the lyrics a few more times in response to some comments and that made me lean strongly in that direction, even though I knew that what I went with in the video was not the 'actual' meaning intended behind the lyrics from the get-go. I just saw a way the text could technically work with a version I liked more and I decided to present it. As for the lead guitar, which I assume is what you're referring to when it comes to the music, that one is fully on me as well, since the high pitches make sense as a representation of the inner emotional state of the speaker (which contrasts the way Saiki sings the lyrics), and those guitar bits were "set up" in the intro as well, so I don't think there's a compositional problem with the song. I was just looking for something else in it. Having different taste is good I think, broadly speaking. That's how we can have so much variety and accomplish so many different things as species. Still, hopefully we'll be more aligned with the next one 🤞
@@bsdsuPASTA thanks for the reply and yes it is fantastic we all have differing tastes. Like I said it is simply the fact this is my Favourite SONG full stop not just Band-Maid song so I get a bit but hurt when people don't understand it the way I want them to lol The way Kanami is always doing something and it is not the same for any length of time (some refer to it as soloing the whole song) and with MISA weaving in and out, Akane changing up there feel every few bars and Miku holding it all together so well see I am NO expert just know what I like, that is why I like to listen to your takes it gives me a different and more technical view.
@@DavidMISAMISAMISACook Oh, it's your top #1 song of all time and all songs, I didn't realize. Yeah, I'd be upset too, if I were you. I know how I feel when I send good music to my friends and they say "yea it's alright" 🤐
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There is no "usual" Band-Maid song! They are extremely diverse! Great reaction, thank you.
The song is about falling in love with a married man and all the deceit and lies that entails. She mentions the small things he leaves at her home and "I don't care what number I am". The rock version is sang with bitterness and resentment, like an argument, while the acoustic is sang with heartbreak and despair. In my humble opinion it's a masterpiece of composition and execution.
Having been in that situation myself, Miku's lyrics and Saiki's delivery perfectly capture the manic desperation of the "other woman" (or man, as the case may be).
You're welcome, I'm glad you liked the reaction!
> There is no "usual" Band-Maid song!
This is exactly what I expected to hear 😄That's good, too! I quite enjoy different stuff every time 👍
Yeah, you're right, the lyrics heavily lean towards the affair interpretation. I wonder if I'd feel differently about the small wiggle room left if the lyrics were in English 🤔
It's cool that the song works with the different feels, as you described, depending on whether it's the rock or the acoustic version. The contrast between the two versions is probably my favorite thing about the whole experience.
Masterpiece. Saiki and Kanami are both, the best in the world, at conveying emotion, through their instruments.
Thanks I don't have the write that now.
They have done about 20 of their songs in an acoustic version. All different from the "full" to some degree. Kanami uses a keyboard to compose, so it could be said that all their songs start out as an acoustic. For an even more interesting take, look into Alexej Bagrintsev. He has a RUclips channel with many cello covers of Band Maid. Great stuff showing off the beauty of Kanami's compositions.
That's good! More acoustic versions = more better👍
That Alexej Bagrintsev guy is pretty good! I checked out Puzzle and Show Them, which are the only songs I've heard that he has covered, and wow! Show Them especially felt like I was listening to the original. I am impressed.
This one of their many masterpieces.
🤘🎶🕊🤘🎀
Thank you for taking suggestions from the comments and doing both versions back to back as I suggested. I thought you would enjoy it. I also enjoyed you speculating what would be done different. I was smiling inside, thinking...oh, he's going to be surprised and I think he's going to be blown away. And the "Wow" here an there with a huge smile, were priceless and validated my thoughts. Your expression at the guitar into, nice. And Kanami doing the backing vocals...voice of an angel. The first time I heard the acoustic version. Goosebumps on goosebumps...LOL. @Davey-Boyd covered what I was going to say about Saiki's emotions behind her singing. A contrast in emotional delivery. Anyway, fantastic breakdown again. Glad you have a large list, as that just means tons more reactions to the Maids! I'm down for that. If you stick to the list, "From Now On" next? 🔥🔥🔥 PO! 🕊 🤘😆🤘
Thank you for suggesting going over the acoustic version as well, I did enjoy it quite a bit!
"Blown away" captures how I felt after hearing the acoustic version 😄That could only work so well after I'd heard the rock version of the song! I love it when my expectations are trampled 👌
The contrast in emotional delivery was a really good touch and a smart way to go about transforming the song for the acoustic version. Kanami's backing vocals were straight out of Heaven indeed! I was not ready for that!
I do intend to stick to the list, so "From Now On" seems likely, but there's a gang gathering for Giovanni + the instrumental version, inspired by the two versions I went over in this song. Currently "From Now On" is still ahead though.
As awesome as it is, I don't know why they released a second OMV of No God & Sense, or even Puzzle from this Garden concert rather than the better, imo, 2017 Studio Coast version. But as Gary Holloway said in one of his comments, maybe they just wanted these songs out with a "live" audience (although it's a stifled audience due to COVID restrictions of mask and no singing or yelling) to help sell the new DVD/BD drop -- which I just received. The 90 minute documentary of their recent USA tour is fascinating and a real tear jerker! Kanami was in worse shape than I had realized toward the end of the tour. It's a must see for fans! Thx, bsdsuPASTA!
The descriptions of the videos say they are from January 2023. Were there COVID restrictions in Japan at that time?
Either way, I would not be surprised if they prefer to release more recent performances, so a 2023 performance would take priority over a 2017 performance. It could be any one of many reasons, really.
Is that documentary available to watch somewhere or is it exclusive to the the DVD/BD? I wouldn't mind watching it but a quick google search doesn't come up with anything.
Thanks for reacting to the two fantastic versions of Puzzle.
My pleasure!
Thanks for another entertaining analysis! Puzzle is a masterpiece, both musically and lyrically. The lyrics are coming from someone who, at the very least, has been cheated on ("Don't care what number I am", "Step outside and we seem strangers"). In the full-band version, the instrumental lines play off against Saiki's passionate vocal line. Kanami's ostinato pattern almost feels like an anxious heartbeat that morphs into emotional flare-ups. The acoustic version takes on a much more plaintive quality. I love how Saiki practically acts out the drama in front of you. Words are hardly needed.
You're welcome, I'm glad you found the analysis entertaining!
I think the usual interpretation of the song is that the speaker is the mistress of someone in a relationship, in which case I'm not sure that counts as being cheated on, but the lyrics can also be interpreted as the speaker being the person in a relationship who knows her partner is cheating on her. That's an interesting take!
Kanami's guitar representing the speaker's internal state is my guess too. But then when something like that happens I always think "but don't they compose the music first and then write the lyrics to the music?" I suppose if both of those things are true then Miku is a pretty good lyricist.
Saiki's presence was good in both versions of this song, I agree 👍
@@bsdsuPASTA Yes -- although we have no idea how much Kanami and Miku talk, I wouldn't push the idea that Kanami knew any of the lyrical content in advance. OTOH, she's absolutely a musical storyteller. It's then up to Miku to translate the instrumental / vocal interactions and tonal movement into words. And I think she does that brilliantly. Again, great stuff!
@@philcalvino884 That's true. The template of their work process that we have on the outside is probably only a vague representation of what actually goes on inside, too. They can also go back and change stuff to fit the lyrics better at a later point if they choose to.
Whatever way they went about it, if they did tie the lead guitar to the emotional content of the lyrics that's a top move in my book 👌And if Miku retrofitted it to the music that's an even more top move!
Thank you so much for such a wonderful reaction. I look forward to your next reaction to my #1 BAND-MAID.
You are very welcome! I'm delighted to hear you liked the reaction ❤
I hope my next BAND-MAID reaction won't take so long and won't suffer any technical difficulties 🤞
I like how silent the crowd was during the acoustic version It was like one of the covid concerts with no audience
Yeah, that fit the vibe of the performance 👌
I am not one to sit and pick a song apart...the song either works for me or it doesn't
Everything that I have heard from Band Maid works for me!
However...
Three things about this song.
1......Saiki has to sing a lot of words.
As another reactor once said while watching the full on, make your ears bleed, arena rocking version...
"Take a breath Saiki"....
2.....The lyrics are written by Miku. So Saiki has to interpret the pain and the anguish and then deliver this fabulous performance in two different forms.
3.....Kanami Tōno......my eyes fill with tears as I write this....
Again, as someone else once commented..."The woman is a bloody genius".
Yeah, Saiki pulled some weight in this song!
Kanami's compositions always pull weight 👌
A killer song both ways❤️
🤘🎶🕊🤘❤
"Maybe they just wanted to add something." As another reactor put it, "Band-Maid...they are unnecessarily good." Yeah, they never settle for good enough, and add elements just because that's who they are.
Fair enough, it seems to be working quite well for them!
There are no rules in art. Correct! And as for the unwritten rules, the maids wouldn't follow them anyway. one of the many reasons we love them.
I heard somewhere (Brandon Sanderson comes to mind with this one, but I'm not 100% sure) something along the lines of "The rules are rules of thumb".
To break them effectively you need to know what they are and why they are, and the maids seem to know 👍
@@bsdsuPASTA They don't follow them composing, or playing as individuals. Sometimes, sure. but you never know where one of their songs is going to go and you never know what Misa or Akane or Kanami is going to do next in a song.
@@Kevin6059 I don't know enough about music rules to point out what the maids are or aren't following, but some of the things they do sure come from left field, that much is certainly true 😄
Band Maid songs often subvert expectations of the initial promise when it comes to the direction we think songs will go. Even for longtime fans, some songs take a few listens to truly click. So you are not wrong with certain elements, like the higher pitched guitar tones, being an acquired taste for some people….especially when it comes to some of tracks from Unseen World. That’s one of my favorite parts of Kanami’s writing.
Hm, I should pay more attention to promises and delivery in future Band-Maid songs I check out 🤔Subverting the initial promise sounds like a bold move, I'd like to see how they do it!
I do not have an extensive knowledge of Japanese rock and metal, but from what I have heard they really like shredding the high notes in Japan, and unsurprisingly the people who listen to that music seem to really like hearing it.
It's not my favorite but I don't really mind it either. I think I am kind of learning how to listen to it to appreciate it better (no promises), but I was looking for something else in this song. Which is 100% on me, not on the composition. Although I still think the first part of the first pre-chorus was a weird choice 😃
@@bsdsuPASTA The higher pitched shredding and note choices definitely took me a bit to get used to, so I definitely understand that part 😂.
For me, the subversion of promises is about my expectations. For a lot of music the opening of a song establishes the expectations, the feeling and groove, gives you a through line to follow as you go. Yes there will be drops, tempo changes, and bridges but there’s generally a commonality to it all whether it’s a repeating riff, vocal melody, or rhythm section holding steady. Kanami likes to toy with those expectations. She messes with the sense of time, throws in odd elements, note choices, and many other things that can sound weird or disconcerting on the first listen. I’ve had to learn to not get trapped in my own expectations of what they are going to do. That’s not just in a single song, but from one song to another. You just never know what to expect next lol.
@@davidpinney4091 Yeah I think it takes a while to start hearing how the fast notes "move" and how they relate to each other. At first it sounds like "oh, they're play that part of the fretboard again" 😂
The promise usually sets expectations. I first encountered that concept in novel writing, so I'm not sure how accurately it maps to songs, but the opening usually sets the theme of the book, or in the case of music I would say it helps the listener to "get the vibe" of the song. A very general expectation, as there's only so much you can do with some 10 or so seconds of playing. You can't really foreshadow modulation and tempo shifts. At least I can't think of a good way to do that.
That said I don't think I would notice modulation or tempo shifts, as there are songs where I know that happens and I still can't notice the difference. Same goes for accidental notes. If it's not so off that it really stands out, I wouldn't notice.
That said, what changes I do notice in Band-Maid songs I quite like, especially if I didn't expect them. There's nothing as good as a quality bamboozle 👌But that can still happen within the expectations from the intro of the song.
Well done sir, because music is totally subjective,, everyones' opinion is correct, it matters what "you" hear, you did a very good job of recalling your impressions, i will sub
Thank you 🙏
I 100% agree with you!
Hearing what different things people took out of the same piece of music provides an interesting observation of the art, too.
Kanami's solo grabbed my attention when I first watched an official live video from 2017, in this video, at first was Saiki's passionate vocal delivery, then Akane. The accenting is so tasty in it. Miku and Misa? Come on, it goes without saying. Flawless.
This is a story of a woman in love with another woman's man. The story begins where she was reminiscing how it felt like hearing the missing puzzle piece clicked in the right place when she met him, but gradually she started to fear that someday he would leave her behind, towards the end of the story the intensity of her despair and desperation rose, but in the end she accepts that she can't become his first, and stay in love with him as another woman...pretty much this is my interpretation.
I'd say yours is the 'canon' interpretation of the lyrics. At least from what I can notice the text support that version more than all the other ones I've heard (including the one I mentioned in the video).
It's a very interesting topic to write about, I don't imagine many others would choose it 👍🕊
@@bsdsuPASTA As a Japanese woman, of course I find the complex emotions and sentiments expressed in there, too, but it is that Japanese sentiments like just wait like a good girl, without any complaint, and resort to being the second. Probably she's pretending it doesn't bother her at all, but the song expresses her true feeling. Here in Australia I see most women just confront men.
@@lurkmerchant Based on the English translation of the lyrics, she is definitely pretending it doesn't bother her when it actually does. The first pre-chorus ends with the lines "Don't care what number I am! Ah, those are just lies" then it goes into the more emotionally charged chorus.
I never really stopped to consider the potential cultural reflections in the text, since I assumed any woman who enters in a relationship with a married man is okay with "sharing", at least initially, but that's an interesting way to look at the lyrics. I am not well versed in Japanese culture, but there might be something to that 🤔
I reckon a lot of women are more open to confronting men in Western societies these days in general, not just in Australia. That said I don't have any experience with that either.
@@bsdsuPASTA I find Miku's lyrics in most of their love songs represent a very reserved, quiet type of protagonist (on the face at least). I think young Japanese women are getting more open to confrontation compared to my generation. My great grand aunt was "the second woman" and she was the submissive type, at least that's what she appeared, I just feel it's very Japanese thing to remain silent.
Check out Matchless Gum, Anemone and Daydreaming as well.
Anemone also has acoustic version, I prefer the studio version better, not just for the guitar solos but type of the protagonist Saiki's vocal melody shows a girl who often holds back her emotions while guitars expresses all her passion, in acoustic, Saiki does the emotional vocal delivery and Kanami's backing chorus and stripped back guitar represent the type of the protagonist , I think.
@@lurkmerchant What you describe certainly fits the depiction of Japanese women in the TV show Shogun (I haven't read the book). I trust your expertise on the matter, as someone with actual experience in Japanese culture 👍
I'll say, young Japanese women being more open to confrontation sounds like a good thing to me, not because I think confrontation is good but because I think freedom of expression is good. I've heard horror stories about the work culture in Japan, too. I hope that gets better as well.
I have added "Matchless Gum", "Anemone", and "Daydreaming" to my list. I usually check whatever song was suggested the most, so I'm not sure when I'll get to those songs.
I do fancy the idea of checking out Anemone's studio version and then the acoustic version. From what you say, it seems like they do there what they did with Puzzle, both for the studio/live guitars and vocals and for the acoustic ones. That's a smart way to go about it, I think.
great band
Yep! 🤘🎶🕊🎀
Thanks for the detailed review, much appreciated. I suggest "Blooming."
You're welcome, I'm happy to hear you liked it!
And you won't have to wait for Blooming - ruclips.net/video/cGHR_xojCSQ/видео.htmlsi=xLKmpJA9HyGUAClI
I will just note that back when I made that video I was doing the reaction + analysis in chunks, so there's pausing. Also my recording arrangements were different.
@@bsdsuPASTA Thanks for letting me know about Blooming--I should have checked your channel. Cheers!
@@Chatwin78 All good! I don't really expect people to go research my past videos if they're interested in something. Leaving a comment is plenty fine 👍
I highly recommend Blooming, the live version of Domination, the MV of Warning (not the video with The Warning, the song 'Warning'), the live version of Play, Alone - which is the first Kanami penned song they got to perform...all hell...just watch them all!
I can hook you up with Blooming right now - ruclips.net/video/cGHR_xojCSQ/видео.htmlsi=bkYooBdCsyCXxEA2
I'll just note that I used to do the reaction and analysis "at the same time" by pausing throughout the song back then. Also the recording arrangements are different.
The only thing I can promise when it comes to doing more Band-Maid is that currently I intend to do more 😄Hopefully all of them, but life does what it wants, so I can't promise that.
I did, however, add +1 to Domination (live), Warning (MV, not the collaboration with TW), Play (live), and Alone. Thank you for the suggestions 👍
If I add +1 to Band-Maid's whole catalogue that's the same as not adding any votes to any song, so I only +1'd the ones you mentioned.
Perhaps you should pay attention to a special Christmas acoustic gig: songs in an acoustic version, a completely different atmosphere, feeling, acustic vs studio.
They are aware that unplugged cannot fully recreate the original song as "the same", rather they designed a different orchestration, arrangement... let's say sometimes the vocal melody remains recognizable... or vice versa... anyway, now you have two "entities" instead of one song.
For example: the song "Awkward" (live is superior to studio in my opinion) compared to "Akasimahen" Christmas acoustic vs studio version (Band-Maid has an alter ego Band-Maiko, that's a special easter egg).
So "Awkward/Akasimahen" exists in three completely different performances, atmospheres...
Certainly the live performances are quite different from the studio ones, I have impression that the studio ones are just sketches, while the live ones are "the way they were supposed to be".
(Sorry for Google translate)
Anyway, you chose the hard way in the reactor world: instead of "wow, uh, like me" your format is much more demanding (more unpopular?!), but it gives me a completely new perspective, an accent on something I missed...
And yes, I watch until the last second, 30 minutes spent with your reaction is a much better quality 30 minutes of life than with 5 others who are just hunting for clicks...
Just keep it up
I looked up the Christmas special, it seems to be paid subscription content on their website. It's cool that they did acoustic versions of their songs though, I personally quite like hearing acoustic versions of songs I like 👌
I've heard about Band-Maiko. There are a few Maiko songs on my list 😄Though not many people suggest them so I likely won't be getting to them anytime soon.
As far as I'm aware the original Band-Maiko April Fool's music was some of their normal songs but sang with a different accent, then later they wrote Band-Maiko specific songs because people loved the meme. Which is a boss move, I have to say.
It's cool that between Studio, Maiko and Acoustic some songs have 3 versions. That's quite impressive and it would be an interesting comparison after analyzing the studio/live version, just to see what they changed.
(All good, Google translate is doing a fine job👍)
When it comes to my videos I make what I like, is what it boils down to. It's definitely an unpopular format, and it takes a lot more time than just a reaction. If you want some numbers, about 40-45% of everyone who clicks on my videos stop watching before the intro ends. That means about 55-60% watch the reaction, while about 20% stick around for the analysis after, and about 10-15% stick for the lyrics bit after. So you can clearly see why most people choose to only do reactions, even if they were interested in analyzing the song (which I imagine most people aren't).
Whatever the case, doing only a reaction wouldn't be very entertaining to me, and besides most of the comments I get seem to be from the 20% who watch the analysis and I like the comment section as it is, so for now I intend to keep it up 👍
If you're happy doing two videos per reaction then I highly recommend 'Giovanni', First the full version with Saiki singing, then the white room instrumental version. (It's called an instrumental, but as it has the melody line removed, it's more of a kareoke version.)
I emphatically second this reccomendation!
I totally agree. In fact the first time I heard Giovanni, I wasn't sure I liked it. It felt a little chaotic for me but after watching the "white room" instrumental version, something clicked and I fell in love with both versions.
I also agree with this!
Not a karaoke version, but one designed to show other musicians how to play their songs. That's why there's multiple versions focusing on each member.
Alright, "Giovanni" + the instrumental version x 4 is going on the list (this includes all the +1 replies I currently see)!
I don't mind going over two versions of the same song in one reaction video. It's interesting to compare the two versions after analyzing the original. The result is kind of lengthy, but if I don't mind it and you guys would like to see it 🤷♂Sounds good!
May I suggest Band Maid / YOU (live in Tokyo 2018 ) thanks
Yessir! I have added "You" (live in Tokyo 2018) to my list. Thank you for the suggestion!
There is an amazing acoustic version of this song that really shows off Saki's voice !!!!!
That's why he watched it
@@Davey-Boyd 😆
Yeah, the acoustic version is fantastic ❤
Great, great reaction Dude!!!! So interested in listening to more from you. Very incredible analysis, although for me I feel that it is a much more melancholy song if she is the other woman who realizes that he is never going to leave the wife and yet she can't give him up, and the more she spends time on this relationship, she is almost like a drug addict realizing it is not good for her, but she has given it so much of her life now it would make her an absolute waste of a life, unless she hangs on for even a slight hope. Great, great song in both versions and yes, they are so completely different and Saiki has definitely brought more emotion to the acoustic version because it can be really heard. I do love Saiki's voice so much and Kanami's is a compllete and wonderful surprise.
Thanks, I'm delighted to hear you enjoy what I do! ❤
I was going for maximum melancholy feeling with my chosen interpretation as well (which I'm confident isn't what the actual story is supposed to be). It's pretty much the same as yours, but in my preferred version the married man does not have an affair with the speaker of the song, so it's just her fantasizing that something might happen because she's that head over heels in love with him.
Unrequited love gives me a stronger melancholy feeling than an affair doomed to stay an affair, personally, but I'll say the affair interpretation from the point of view of "the other woman" is more novel and thus interesting. I like both 👌
The contrast between the two versions is *chef kiss*. Kanami's heavenly harmonies are absolutely amazing!
PUZZLE is a breakup song. In the original version, SAIKI sounds outraged. In the acoustic version, she expresses sadness and grief.
Hm, breakup, I can see that. I'm not sure how accurate the translation is but in verse 2 they sing "Someday you'll disappear too" and in the bridge "I just want to remain in this dream with no end" which make it sound like they're still 'together' (as much as an affair counts), but I can see the song being about a breakup as well. There's some wiggle room for different interpretations!
The different ways Saiki sings in the two versions is a nice touch 👌Having two different feels of the same song is pretty cool.
@@bsdsuPASTAshe's sitting with the couple the husband of which she's been having a doomed affair with realising just by looking at them that he's never going to be hers she'll always be the mistress.
@@stevekane4922 That's a great mental image for the text of the song! it really fits the vibe 👌
@@Greg-om2hb I thought that she never had a clear break-up, at least at this stage. Miku's recent lyrics show the character learned from her past relationship, still having occasional flashbacks, the trust issue coming to resurface, but trying to step forward (No God).
Or the main character finally moved on (page).
Matchless Gum - Pazzle - Anemone - Daydreaming - Page - Mirage - No God, kind of feel like a sequel to me.
@@bsdsuPASTA "I wonder if you might disappear like a sweet candy melting in my mouth", is more like it.
Hmm... I'm not a guitar player so I'm not positive. Drop C# tuning is definitely possible but most of Band-Maid's songs are in Drop D. It's definitely close to Drop C#.
Few songs are half step down (D#)
I just went with what Songsterr said, honestly. My ear couldn't pick up the difference even if my life depended on it 🙁
I was only pointing it out to note that the rhythm will likely be heavier, which has implications for the song in general.
MISA MISA MISA!!!!! this is the first time I TOTALLY disagree with your analysis especially the lyrics but as you say it is all subjective this is my favourite song so maybe I'm a bit sensitive. Look forward to the next one
I think understand where the disagreement comes from. I'll be the first to say the interpretation of the lyrics I went with is not the intended one. I think the conventional affair with a married man is the 'canonical' interpretation. I read the lyrics a few more times in response to some comments and that made me lean strongly in that direction, even though I knew that what I went with in the video was not the 'actual' meaning intended behind the lyrics from the get-go. I just saw a way the text could technically work with a version I liked more and I decided to present it.
As for the lead guitar, which I assume is what you're referring to when it comes to the music, that one is fully on me as well, since the high pitches make sense as a representation of the inner emotional state of the speaker (which contrasts the way Saiki sings the lyrics), and those guitar bits were "set up" in the intro as well, so I don't think there's a compositional problem with the song. I was just looking for something else in it.
Having different taste is good I think, broadly speaking. That's how we can have so much variety and accomplish so many different things as species.
Still, hopefully we'll be more aligned with the next one 🤞
@@bsdsuPASTA thanks for the reply and yes it is fantastic we all have differing tastes. Like I said it is simply the fact this is my Favourite SONG full stop not just Band-Maid song so I get a bit but hurt when people don't understand it the way I want them to lol The way Kanami is always doing something and it is not the same for any length of time (some refer to it as soloing the whole song) and with MISA weaving in and out, Akane changing up there feel every few bars and Miku holding it all together so well see I am NO expert just know what I like, that is why I like to listen to your takes it gives me a different and more technical view.
@@DavidMISAMISAMISACook Oh, it's your top #1 song of all time and all songs, I didn't realize. Yeah, I'd be upset too, if I were you. I know how I feel when I send good music to my friends and they say "yea it's alright" 🤐
@@bsdsuPASTA disheartening to say the least lol
@@DavidMISAMISAMISACook 😕😞🤞🙏🕊🎀
😢😢😢😂😂😂❤❤❤
🙂🙂🙂🕊🎶