After 5 years of listening to BM reactors, sometimes I wonder if I need to take a break. Then I hear one of the best reactors in a long time, and I’m charged for another 5 years of BM reactions
Mota, you've outdone yourself, sir. "Forbidden Tale" is another level of sophistication in song writing for Kanami and the rest of the Maids. It's a very _grown up_ song. Thanks for the reaction, the insights and the great playing!
Thank you. You emphasized it perfectly but, using my own words, Kanami is a genius as a composer. I look forward to your BAND-MAID reactions in the future. As a fellow musician, thank you for understanding BAND-MAID's complexity while they keep the music something for everybody to hum to. PEACE (p.s. I read a piece when Kanami asked her bandmates if they were okay with her writing and MISA said, "I love you." I think that says it all.)
I just say Kanami's special. Her music has the character that's slightly weird, but very addictive once you know it better. And the weirdness becomes the thing that you love it for. The music is picturesque, thought provoking and damn catchy in its own way.
Great react. Regarding your comments about not knowing the words, and missing the repeating part - I think it's good to also look at Saiki's comments about this, because the basic concept she was working with, she came up with after doing some research on the history of story telling, and songs. And she came across some stories that had been marked 'forbidden' by the political/social leaders of different societies and cultures, and those songs were - lost. But now with modern methods and study, we can find those stories, and bring them back. And, like Miku and Saiki said - that's like 'meeting' those original artists, and more importantly, helping them find acknowledgement of their lives, and works. It's also one of the few Band-Maid songs where the MV really helps propels the music, and vice-versa. Finding the 'previous artists' is the shadow hand meeting the hand in the present. And when the 'jazz' section kicks in - that's the content of the 'old story' coming out. But then, when things turn red - that's letting those old artists get out their feeling about being labeled as 'forbidden' in the first place. But then the color changes again, and that's when Saiki sings the same words - don't worry, I know you, I call your name, and when I'm done on earth, I'll find you in spirit. But then, the last quarter of the song, with half time, singing that for the future people that need them, they'll be 'singing for hundreds of years', and 'just call my name', and their songs will be there. Then there is the part in the middle - they'll need their fans to carry their music forward, so when she goes 'let me hear your voice' and you hear the crowd sound - that's them. Helping them move forever in the future. Yeah, Kanami's deep emotional ties to the composing, and Saiki's thoughtful and soul-felt lyrics and ideas. Can it really get any better? Thank you!
The album Epic Narratives is an album I have to just keep on listening to. As you put it better than I ever could, there is so much going on. I have listened to the CD so often and yet I can still get thrilled when I notice Akane drum sequences behind the main guitars. Or MISA and her BASS and yet there is never a listen to any track on the album that I don't find something new to enjoy. There are so many classic albums but I can name three to four over the decades that have kept me guessing and emotionally involved. This album is to me up there with the best. I know Kanaimi had lost her Grand Mother and that influenced her music for this song. Saiki was thinking of musicians from the past who we remember and that influenced the lyrical direction as they hope their music will be likewise remembered in the future. In the end Band Maid manage to make art. It happens to be music but really we all know it is true art and deserves be in a gallery. Music doesn't have to be complicated. Just involving and I can sit and stare at the pictures the songs create for hours.........Thanks for your enthusiasm. It makes non musicians like me feel I am not going over the top when I talk about Music and The Maids contribution.
Yo, Fantastic stuff! Jeez, usually I blab in comments, but you basically said everything. Plus, thanks for the bass cover -- really helps when you can hear how MISA's part interlocks with the others, especially Kanami. I agree that Kanami is a top-shelf guitarist, but I've gotten the feeling that her mastery as a songwriter is starting to get through to a wider audience. And secret Santas, like that dude behind the famous initials, are helping make it happen.
Always a pleasure to watch your reactions. Kanami is totally underrated as a guitarist, but I think she thinks of herself as a composer first. But I'm really happy to see her honored by PRS as their first Japanese signature artist, when Japan is really awash in guitar talent. I'm struck by your conservation of movement in your picking hand, relative to Misa, whose wrist and elbow seem to move a lot more.
Was thinking about your channel the other day and was missing your insight. Then you come out with this banger of a video?! This is my favorite analysis video of yours so far. Thank you so much for this!
Gotta love how the chord structure on that crescendo and even the last chorus gets changed up underneath the same melody. It reminds me of "Yours is No Disgrace" by Yes. The main motif gets reinvented as a swing jazz section halfway through.
An epic reaction for an epic song! After I heard *_Forbidden Tale_* the second time I turned to my imaginary girlfriend, Misura (she's a combo of Misa/Band-Maid and Sakura/Le Sserafim) and said "this is a goddess-level epic genius masterpiece of genius epic masterpiece proportion!" ⋆.˚✮🎧✮˚.⋆The way it builds and twists and builds and coils and then is SO incredibly triumphant but STILL not done with you. She said to me "but that UA-cam guy Mota figured that out halfway through the first listen." ......... Ouch! Anyway, I don't watch many male reactors at all (sorry dude-bros) but you're S-Tier for sure. Thanks for all the little bits of humor you throw in, also. Like your acknowledgement to the cheering audience during the bass cover 🍻 (as an aside, for anyone curious, my bias-wreckers are Miku, Kanami, Akane and Saiki, not necessarily in that order, depending on where the moon is🌙) ---- ⚡🎀🎀🎀🎀🎀⚡🕊
Well done. Thanks putting in the time and effort to figure out Misa's part. Also thanks for the insightful thoughts on the song. I totally agree that Kanami is a great composer. It's one of the many standout things that continue to blow me away with this band.
The music and execution in EN is sophisticated and delightfully listenable. But the lyrics, and concepts they're based on, put it at the epic level. The songs already released earlier in the year are just Band-Maid awesomesauce! The six new songs are so tightly integrated and complex, it's going to take a Tokyo minute to assimilate. But I already love Forbidden Tale, and especially The One. 😉🤘 btw - We should all wish a "Good Luck" to Band-Maid's new self-run management company: Maidit, Co., LTD! Will they managing other bands, boost Cluppo and Maiko projects, or tour more internationally? Or maybe they will expand their business interest to other sectors of the music biz outside of Band-Maid. I believe Kanami wants to get more into composing, scoring and production. And as for Miku and Saiki, the sky's the limit for what they'll want to do in merch, fashion and art, etc.. Thx, Yo!
Kanami is not underrated by me ... she is my ultimate composer. To my ear she composes complete orchestral arrangements and then figures out ways for the instruments available to play the parts of an orchestra ... when I listen close I can imagine a whole string or horn section playing the 'phrases' that Kanami is playing. And MISA and Akane seem to understand this and join in taking whole orchestral sections for themselves and pretending they are that whole section and doing counterpoint to Kanami's orchestral parts ... but they do this by knowing their instruments, equipment and production tools and somehow compressing that same 'orchestral feel' into 4 people with their instruments!
Another great breakdown and analysis of this epic masterpiece. Love how you bring the emotions and expressing how you were feeling. I love watching reactors, especially those with music backgrounds.. As many will point out something I may have overlooked. Only adds to my enjoyment of the Maids even more! On a side note...You posted this 5 days ago...5 days ago I got to watch this live for the first time at the ZEPP Haneda show. And extremely fortunate to having to watch it a second time on the second night of ZEPP tour. They opened with this song and it was amazing. There were cameras setup much like they do when they release concerts on streaming or DVD/BD releases. So hopefully something will be released sooner than later. The visual live was amazing. I won't spoil it for those who haven't seen it live yet, but wow! Just wow! PO!🕊 🤘😆🤘
Brilliant analysis of what might just be my favourite BM song. I knew this would be good when your eyes lit up at the 16ths in the second verse! And I can’t believe I never noticed that the intro build was repeated in the bridge - they have such wildly different emotional tones. Amazing job on MISA’s basslines, too! You brought out so much nuance in there.
I listen to several Japanese bands of different genres and in them there are a lot of bass players who want "freedom": "the bass guitar is just another guitar"... They all run away from the conventional role of the bass guitar as a (monotonous) base, but bring another melodic layer to the song, which further allows the lead guitar space to play a bit differently... they open up a new space for each other for a new role in the song...They are not slaves to the usual habits in music, they act like playful children...
In an interview Kanami said she found composing music over simple rock progressions to be difficult. Well, she figured it out and signficantly overachieved. As you said, many standard box patterns in the basic structure of this song (and so many Band-Maid songs) but the eventual outcome has so much tasteful instrumentation and arrangement.
Yes.....finally.....Kanami is a great guitarist....however....as a composer/arranger.....she is a genius.....she writes lead riffs and buries them in the music as support instead of feeding her ego with solos....not since the Beatles has a composer been so prolific and consistent Kobato/Tono....this era's Lennon/McCartney....thanks for the work on the cover....(and outtakes)....prime stuff man
Best damn Band-Maid reactor on YT.
🕊️🌏🌍🌎
Listening to this feels very personal, like I'm reading Kanami's diary. Turning pages with a different experience on each one.
After 5 years of listening to BM reactors, sometimes I wonder if I need to take a break. Then I hear one of the best reactors in a long time, and I’m charged for another 5 years of BM reactions
Thank you! I am far from being the best at anything but I’m glad you enjoyed my
video😄
Mota, you've outdone yourself, sir. "Forbidden Tale" is another level of sophistication in song writing for Kanami and the rest of the Maids. It's a very _grown up_ song. Thanks for the reaction, the insights and the great playing!
Thank you for the kind words!
Thank you. You emphasized it perfectly but, using my own words, Kanami is a genius as a composer. I look forward to your BAND-MAID reactions in the future. As a fellow musician, thank you for understanding BAND-MAID's complexity while they keep the music something for everybody to hum to. PEACE
(p.s. I read a piece when Kanami asked her bandmates if they were okay with her writing and MISA said, "I love you." I think that says it all.)
And thank you! They are wonderfully complex🤘
I just say Kanami's special.
Her music has the character that's slightly weird, but very addictive once you know it better. And the weirdness becomes the thing that you love it for. The music is picturesque, thought provoking and damn catchy in its own way.
Great react. Regarding your comments about not knowing the words, and missing the repeating part - I think it's good to also look at Saiki's comments about this, because the basic concept she was working with, she came up with after doing some research on the history of story telling, and songs. And she came across some stories that had been marked 'forbidden' by the political/social leaders of different societies and cultures, and those songs were - lost. But now with modern methods and study, we can find those stories, and bring them back. And, like Miku and Saiki said - that's like 'meeting' those original artists, and more importantly, helping them find acknowledgement of their lives, and works.
It's also one of the few Band-Maid songs where the MV really helps propels the music, and vice-versa. Finding the 'previous artists' is the shadow hand meeting the hand in the present. And when the 'jazz' section kicks in - that's the content of the 'old story' coming out. But then, when things turn red - that's letting those old artists get out their feeling about being labeled as 'forbidden' in the first place. But then the color changes again, and that's when Saiki sings the same words - don't worry, I know you, I call your name, and when I'm done on earth, I'll find you in spirit. But then, the last quarter of the song, with half time, singing that for the future people that need them, they'll be 'singing for hundreds of years', and 'just call my name', and their songs will be there. Then there is the part in the middle - they'll need their fans to carry their music forward, so when she goes 'let me hear your voice' and you hear the crowd sound - that's them. Helping them move forever in the future.
Yeah, Kanami's deep emotional ties to the composing, and Saiki's thoughtful and soul-felt lyrics and ideas. Can it really get any better? Thank you!
Thank you! Well said, some good story telling happening in this video.
The album Epic Narratives is an album I have to just keep on listening to. As you put it better than I ever could, there is so much going on. I have listened to the CD so often and yet I can still get thrilled when I notice Akane drum sequences behind the main guitars. Or MISA and her BASS and yet there is never a listen to any track on the album that I don't find something new to enjoy. There are so many classic albums but I can name three to four over the decades that have kept me guessing and emotionally involved. This album is to me up there with the best. I know Kanaimi had lost her Grand Mother and that influenced her music for this song. Saiki was thinking of musicians from the past who we remember and that influenced the lyrical direction as they hope their music will be likewise remembered in the future. In the end Band Maid manage to make art. It happens to be music but really we all know it is true art and deserves be in a gallery. Music doesn't have to be complicated. Just involving and I can sit and stare at the pictures the songs create for hours.........Thanks for your enthusiasm. It makes non musicians like me feel I am not going over the top when I talk about Music and The Maids contribution.
Can you imagine if Kanami just did some boring finance crap with her economics degree?
Totally agree with you, I LOVE Kanami's composing, her melodic and harmonic focus versus technical show off-y writing is why I love her songs so much!
She was a star on this one for sure.
Thank you. Just thank you!
And thank you!
I realllly hope you are recording your reactions to every Band-Maid song you hear. Trust me we want to see them all.
+1
Haha will do!
Great reaction yet again. You have the best musical ears on UA-cam. Thanks (UK).
Thank you! My ears are ok but they are far from the best😄
Yo, Fantastic stuff! Jeez, usually I blab in comments, but you basically said everything. Plus, thanks for the bass cover -- really helps when you can hear how MISA's part interlocks with the others, especially Kanami. I agree that Kanami is a top-shelf guitarist, but I've gotten the feeling that her mastery as a songwriter is starting to get through to a wider audience. And secret Santas, like that dude behind the famous initials, are helping make it happen.
Thank you! I always try to do right by what Misa is playing🤘
Always a pleasure to watch your reactions.
Kanami is totally underrated as a guitarist, but I think she thinks of herself as a composer first. But I'm really happy to see her honored by PRS as their first Japanese signature artist, when Japan is really awash in guitar talent.
I'm struck by your conservation of movement in your picking hand, relative to Misa, whose wrist and elbow seem to move a lot more.
Thank you! If I move too much, I could miss a string! Misa probably doesn’t have those concerns😆
BAND-MAID is still relatively unknown. We maidiacs don’t think like most music promoters.
Was thinking about your channel the other day and was missing your insight. Then you come out with this banger of a video?! This is my favorite analysis video of yours so far. Thank you so much for this!
Thank you! Talk about good timing😄
Gotta love how the chord structure on that crescendo and even the last chorus gets changed up underneath the same melody. It reminds me of "Yours is No Disgrace" by Yes. The main motif gets reinvented as a swing jazz section halfway through.
I cut a part where I tried to label each portion of the song but I ended up tapping out because the parts kept progressing🤯
An epic reaction for an epic song! After I heard *_Forbidden Tale_* the second time I turned to my imaginary girlfriend, Misura (she's a combo of Misa/Band-Maid and Sakura/Le Sserafim) and said "this is a goddess-level epic genius masterpiece of genius epic masterpiece proportion!" ⋆.˚✮🎧✮˚.⋆The way it builds and twists and builds and coils and then is SO incredibly triumphant but STILL not done with you. She said to me "but that UA-cam guy Mota figured that out halfway through the first listen." ......... Ouch!
Anyway, I don't watch many male reactors at all (sorry dude-bros) but you're S-Tier for sure. Thanks for all the little bits of humor you throw in, also. Like your acknowledgement to the cheering audience during the bass cover 🍻
(as an aside, for anyone curious, my bias-wreckers are Miku, Kanami, Akane and Saiki, not necessarily in that order, depending on where the moon is🌙) ---- ⚡🎀🎀🎀🎀🎀⚡🕊
Haha no worries, I’m glad you enjoyed!
Well done. Thanks putting in the time and effort to figure out Misa's part. Also thanks for the insightful thoughts on the song. I totally agree that Kanami is a great composer. It's one of the many standout things that continue to blow me away with this band.
The BAND-MAID logo on the truss rod cover has sparked debate on whether this is her new signature PRS.
Misa is known for her pick tuck/ slap move and her octave slides. And Whiskey.
Kanami pure genius.
Very in depth analysis. I've noticed that they use English phrases when Japanese doesn't work, and vice-versa.
They mix them in quite well🤘
Loved your reaction.
MISA MISA MISA!!!!! Yo Mota Yo Mota Yo Mota!
🕊👀❤🍻
The music and execution in EN is sophisticated and delightfully listenable. But the lyrics, and concepts they're based on, put it at the epic level. The songs already released earlier in the year are just Band-Maid awesomesauce!
The six new songs are so tightly integrated and complex, it's going to take a Tokyo minute to assimilate. But I already love Forbidden Tale, and especially The One. 😉🤘 btw - We should all wish a "Good Luck" to Band-Maid's new self-run management company: Maidit, Co., LTD! Will they managing other bands, boost Cluppo and Maiko projects, or tour more internationally? Or maybe they will expand their business interest to other sectors of the music biz outside of Band-Maid. I believe Kanami wants to get more into composing, scoring and production. And as for Miku and Saiki, the sky's the limit for what they'll want to do in merch, fashion and art, etc.. Thx, Yo!
And thank you!
Kanami is not underrated by me ... she is my ultimate composer.
To my ear she composes complete orchestral arrangements and then figures out ways for the instruments available to play the parts of an orchestra ... when I listen close I can imagine a whole string or horn section playing the 'phrases' that Kanami is playing. And MISA and Akane seem to understand this and join in taking whole orchestral sections for themselves and pretending they are that whole section and doing counterpoint to Kanami's orchestral parts ... but they do this by knowing their instruments, equipment and production tools and somehow compressing that same 'orchestral feel' into 4 people with their instruments!
Well said🤘
🤘🤘🤘🤘
Another great breakdown and analysis of this epic masterpiece. Love how you bring the emotions and expressing how you were feeling. I love watching reactors, especially those with music backgrounds.. As many will point out something I may have overlooked. Only adds to my enjoyment of the Maids even more!
On a side note...You posted this 5 days ago...5 days ago I got to watch this live for the first time at the ZEPP Haneda show. And extremely fortunate to having to watch it a second time on the second night of ZEPP tour. They opened with this song and it was amazing. There were cameras setup much like they do when they release concerts on streaming or DVD/BD releases. So hopefully something will be released sooner than later. The visual live was amazing. I won't spoil it for those who haven't seen it live yet, but wow! Just wow! PO!🕊 🤘😆🤘
It's those damn Onion Ninjas again! Happens to me all the time, and I'm a 69 year old white dude!
5 songs? packed in one♪
Hello Mota. Well done
Brilliant analysis of what might just be my favourite BM song. I knew this would be good when your eyes lit up at the 16ths in the second verse! And I can’t believe I never noticed that the intro build was repeated in the bridge - they have such wildly different emotional tones.
Amazing job on MISA’s basslines, too! You brought out so much nuance in there.
I listen to several Japanese bands of different genres and in them there are a lot of bass players who want "freedom": "the bass guitar is just another guitar"...
They all run away from the conventional role of the bass guitar as a (monotonous) base, but bring another melodic layer to the song, which further allows the lead guitar space to play a bit differently... they open up a new space for each other for a new role in the song...They are not slaves to the usual habits in music, they act like playful children...
In an interview Kanami said she found composing music over simple rock progressions to be difficult. Well, she figured it out and signficantly overachieved. As you said, many standard box patterns in the basic structure of this song (and so many Band-Maid songs) but the eventual outcome has so much tasteful instrumentation and arrangement.
Yes.....finally.....Kanami is a great guitarist....however....as a composer/arranger.....she is a genius.....she writes lead riffs and buries them in the music as support instead of feeding her ego with solos....not since the Beatles has a composer been so prolific and consistent Kobato/Tono....this era's Lennon/McCartney....thanks for the work on the cover....(and outtakes)....prime stuff man
No other band would burn so many musical ideas in one song....they would've written 6 average songs....instead of imho 1 epic rock song
.......but.......Kanami