Quote:
Originally Posted by Delirium-Zer0
Take "HANABI" for instance... nothing in its composition is risky - nothing in it could have been considered noisy or weird at the time. It's not experimental. it's still a 4/4 song, it's in a standard key and doesn't have any changes to those two aspects of its composition (unlike some great CREA tracks which routinely have key changes for the last chorus or two, and "Will" which has time changes). What HANABI does have is unconventional instrumentation - reverberating plucks of bass guitar take the lead alongside strings that only appear briefly before disappearing when Ayu sings in the verses; the music box sound at the beginning is not that of a relaxing, twinkling, wintery sound but that of a somewhat rusted and worn-out old family heirloom; the drums sound like they're being played in a rock arena very slowly, there's plenty of space between most of them which makes the whole song sound dark and empty. This gives Ayu space for her choruses to swell up, more layers of instrumentation - with added reverb and slightly increased volume on some of them - fill the empty space, and the emotion works much better thanks to the contrasting fullness between the verses and the choruses.
|
I have nothing to contribute to the discussion at hand but I just wanted to say that this is the most beautiful description I've seen for describing HANABI, one of my all-time favorite Ayu songs. You put my thoughts into perfect words.