Analyzing "The Birth of the Devil (悪魔の誕生)" by Sakuzyo (Nostalgia Op. 3) | Basterd's LFA

Added: 2026-06-03

[00:00:00]Next up, we have Nostalgia OP3 Symphonic Poem Birth of the Devil.

[00:00:09]They delete the ninth KAC final song by Sakurzio is my understanding from the Nostalgia OP3 soundtrack is my understanding. I had to use translate because, you know, once again everybody, this is a Bastard's Lullaby, a layman friendly analysis. I'm a professionally trained musician composer and my objective here is to explain things in a way so that you don't have to be one to understand what is happening here.

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[00:00:51]Disclaimers showing on your screen right now, so go ahead and pause the video to read them in full. Otherwise, please be patient with me. I am acoustic and [ __ ] so please keep that in mind.

[00:00:59]Yes, it's Sakurzio, there you go. Thank you. And yes, keyboard, we have a new setup, new layout, new setup going on over here.

[00:01:07]There is still some quirks that I need to work with, so please bear with me. With that, let's do this.

[00:01:17]>> [music] >> Okay.

[00:01:22]First of all, I'm being picked on on all sides eventually. I'm hoping so, but I'm still figuring it out. So, we start with, of course, an orchestral arrangement over here.

[00:01:32]We start with what is called a flute glissando.

[00:01:36]The brum over there, a glissando is basically a slide done very very very fast.

[00:01:43]We have it all going on. A glissando usually, you know, when you go with the piano, you know, you put down the finger and then just that kind of stuff.

[00:01:51]We're having a glissando of that. Then we're bringing the rest of the orchestra, a bunch of other instruments. I still need to figure out all of them, but definitely the violins giving us that initial very unstable melody containing our initial motif. Motif being the smallest version of your musical idea, the seed, the essence from which everything else comes from. Let me hear a bit more. Let me see where this goes.

[00:02:10]So, percussion, [music] flute. Okay, so it's piano. It is flutes. We have violins. I think we have the violins doing doublings. Doubling is when you have more than one instrument doing the same thing at the same time. And this is where music starts having internal logic instead of just solid logic. Because doublings in music, if you have one instrument, the piano, then you have a flute giving a doubling for it. Well, now you have a doubling.

[00:02:38]If you then bring the violin and you have that do a doubling to the piano, this is not called a tripling. This is also a second doubling. So, now you have two doublings happening to the piano because the flute is doubling the piano and the violin is doubling the piano.

[00:02:55]Each of them doing an individual doubling. If I were to then bring the clarinets and double the piano, now we have three doublings. If I were then to say, "Oh, yeah, but what if I bring the bassoon and we have the bassoon double the clarinet?" Well, the clarinet is doubling the piano. Violin turns to promises. The bassoon is doubling the piano. Now we have four doublings.

[00:03:18]That is how music works.

[00:03:22]That's That's just it. Let's see where this goes.

[00:03:26]Okay, there's the violin going down.

[00:03:31]Okay, so on top of that we're bringing a bunch of call and responses on this. We had the French horns there giving us some very frantic start of a call and response. Call and response being a musical conversation. You have one part doing the call, doing something as a call, then something else as a response.

[00:03:47]We're having, of course, the back and forth. We have the French horns doing and the piano and these strings, let's see where this goes.

[00:03:54]Violins there.

[00:03:57]Percussion there.

[00:04:01]>> [music] >> There's so much going on over here.

[00:04:04]Okay, so we have the lower side. We're having this this new material basically giving it's all thing. We have the violins higher up and down giving us a more a slower melody arcing over everything.

[00:04:18]We have the percussions doing kind of an in between of this.

[00:04:22]Yeah, this is a type of orchestral orchestral work that um it's extremely active. There's a lot of stuff going on and it is that fine line between having a lot of different moving parts and just noise. So it's a very very fine line that Sakurabito usually walks when it comes to this one.

[00:04:42]Basically, I mean Sakurabito's music is basically what happens when you give a hyperactive kid a bunch of sugar, cocaine, and crack at the same time and you ask them to and you ask them to rush a symphonic thing and somehow they pull off something coherent, right? So we're having this kind of feeling that is extremely high energy, extremely difficult to keep up with, but at the same time we are having the principle of giving the listener something to hold on to. If you're bringing this kind of energy, this kind of extremely high energy, a lot of changes going on, you want there to be at least some overlap with something. Always give your listener something to hold on to even if you're doing something this complicated, which Sakurabito is. Let's see where this goes.

[00:05:32]Violin piano doing arpeggios. Okay, piano doing arpeggios over there.

[00:05:36]Arpeggio, of course, being when you play a chord one note at a time. For example, here's C major. Here's arpeggiated.

[00:05:42]So yeah, we're having a lot of this.

[00:05:43]We're having the percussion, of course, giving us a bunch of accentuations over there. Let's see, make a rhythm game, makes sense.

[00:05:53]Okay, piano there giving us new variation of the motif doubled by a glockenspiel.

[00:06:01]Partially doubled by a glockenspiel, the higher notes of a glockenspiel is taken care of glockenspiel being this beautiful mallet instrument over here.

[00:06:09]So yeah, when a character is going through a sugar rush in a cartoon, the kind of music when you Yeah, when you see a a character going through a sugar rush. Yeah, it's very accurate. Very accurate to put it that way. Like we're talking somebody get somebody gave cocaine to Sonic, basically. That's the kind of of of thing we're seeing over here. Like somebody gave cocaine to Sonic and we're seeing it from Knuckles' perspective.

[00:06:38]Violin, we slow it down a little bit and Okay, so we're now switching to a slightly more coherent melody this time around. We are having the violins giving us not pa pa pam pa pa pam pa pa pam doubling by a bunch of other stuff.

[00:06:57]Another kid rhythm game, it's just quite obvious it looks like a piano and the controller is literally a piano.

[00:07:01]Well then.

[00:07:04]Yeah, because everything the piano has been playing constantly so that makes sense.

[00:07:08]French horns there.

[00:07:10]Percussion.

[00:07:12]Piano giving arpeggios, violins slower melody.

[00:07:17]Piano, the piano is incredibly difficult here. [music] Change Okay, we change the feeling over here now to this whole 6/8 1 2 3 4 5 6 1 2 3 more danceable. We're bringing the brass in a little bit for the lower side. We're having the percussion doing this. This kind of music um as it is it's very suspenseful or it is gives work for like a film or something.

[00:07:43]Um In order to work for a film, you would need to be able to do slow music. I Maybe it's just me, but I have we have yet to see Sakuzyo do something slow.

[00:07:56]Like Sakuzyo would be able to be brilliant. I mean, with what I know from Sakuzyo so far, be able to do very fast-paced, very very breakneck speed short films kind of thing, like action sequences, that kind of stuff, like maybe like a drug trips, that kind of um of thing. I don't know if Sakuzyo I mean, he probably does have the range for it. I I like with this kind of skill that it takes to make something this complex that it still makes sense, you would have the range for you would most likely have the range to pull off something serious and um and dramatic and slow, something that actually breathes in and out. Cuz one of the aspects of Sakuzyo that we've heard from many of his pieces before is that he does not to give you a second to rest. Um so Sakuzyo Sakuzyo something.

[00:08:45]Okay, so slow by Sakuzyo standards or slow?

[00:08:49]That's a different thing. That's a very very different thing. Like if you can uh if if he can have some slow, which I do think he might have the range.

[00:08:57]I think he might have the range for that, being able to do um that kind of stuff.

[00:09:03]Um I'm pretty sure he would be able to.

[00:09:05]I don't think he would prefer it. Seeing this kind of stuff, I don't think he would prefer it. And you know WHAT ELSE WE PREFER?

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[00:10:16]Become a member today. All right, back we go. Let's see where this goes.

[00:10:19]Dancing.

[00:10:25]So, yeah, we're having the violins, we're having the French horns. They're carrying the melodies from one another.

[00:10:31]Piano still doing these insanely fast arpeggios kind of stuff like like 90 bpm. 90 bpm can mean very little.

[00:10:42]Like the bpm can mean absolutely nothing.

[00:10:45]It the the slow bpm can mean very very little, uh, for some of these, but if he sticks to it and I I think he would, um, then yeah, that's nice and slow. Um, not slow slow like slow slow is like 40.

[00:10:59]Like that's slow. Uh, 90, that's bordering moderato.

[00:11:05]Anyway, so we're having, um, this going on. We're having, of course, the percussion. We're having a bunch of different percussions giving us the ba ba ba ba ba ba ba ba. Let's see where this goes.

[00:11:23]There we go. Okay, so yeah, the violins are jumping in. Uh, we do have the French horns jumping in and out. We have the trumpets there giving us a few more accents here and there. Accents, accentuations in music are for when you are uh highlighting specific points in the rhythm with other instruments. As we're hearing right now, the trumpets are not really doing anything like super super coherent. We're not really getting the motif from them. We're just getting little bits and bobs here to highlight specific points. Um yeah, continuing that motif, let's see where it goes.

[00:11:56]Slowly speeding up.

[00:11:59]All right.

[00:12:01]Descending descending scales bring it back.

[00:12:05]Speeding up.

[00:12:07]Okay, so we bring back now we bring a contrast. We have the brass in the bottom giving us that pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa that we had before while we are having this the strings on top giving us that beautiful contrast and the piano somewhere in between. Let me hear a little more.

[00:12:25]Piano's doing the melody.

[00:12:29]All right, there we go. Piano doing the up and up and down.

[00:12:34]Oh god, the piano's insane. So the piano is going back and forth between the two rhythms and very much suffering for it.

[00:12:40]The and this might have been a live recording.

[00:12:44]Chances are this was a live recording which God, I hope the I hope the players got paid well for this cuz this sounds really cool. What a nightmare to be able to play. Like if there's one thing that studio orchestras need to be able to do is play through the whole thing in one take.

[00:13:02]Like many composers How many more left today? Two.

[00:13:05]Uh many composers or many record like I've done this or like most people have done this that we try to get the best individual take of each part that we do.

[00:13:15]And then you have like this Frankenstein's monster kind of thing.

[00:13:19]But orchestral players, like especially studio orchestras, they don't have that luxury. You have to play it perfectly the whole way through. Like every every other take that you do is because somebody [ __ ] up and there is no replacing take one with take two.

[00:13:34]Everything has to be done perfectly.

[00:13:36]It's insane how much skill orchestral players can have and it's showing right here because every single note that is being played over here was meticulously crafted by Sakurazou to sound the way it is and they have to portray it. Like, [ __ ] you Sakurazou for putting them forward.

[00:13:56]But, in general, such a good such a good job. I mean, like that is probably one of those things. Like, you you look at this as an orchestral player, [ __ ] you, dude. [ __ ] you. I hate that you make me do this, but oh my god is this incredible kind of thing. You know that that kind of love-hate thing. Let's see where this goes.

[00:14:14]Percussion increasing. Glissandos from the flute.

[00:14:18]How are you going to end this?

[00:14:22]Elongated Elongated version of the motif. So, we bring an elongation. Ba ba ba Wait, an elongation partial of the motif. Elongation being a when you develop your material and you play a slower version of something you've done before.

[00:14:37]Go to or something like patch errors of a certain version. It's very difficult to do that because the way that orchestras are done, for example, the uh film. You look at the Budapest Film Orchestra and you look at how they record things. Unlike with other um with other studio kind of things because when you're in a studio and you're recording something, please load the [ __ ] image. And you are recording um a a band, usually you're going to do, "Okay, we're going to have the guitar.

[00:15:06]The guitar is going to have his own amplifier and then we're going to take the guitar. Okay, guitar one ba ba ba ba ba ba ba ba ba Oh, you messed up here.

[00:15:13]Let's start from this bar. Ba ba ba ba ba ba ba ba Okay, let's start from this bar." From orchestras, it's a lot more difficult. Like, usually in an orchestra, you will be able to patch things around when there's silence. Like if the whole orchestra stops, you might be able to bring this over. But as you can see over here, there is one microphone for all of these people. There is one microphone for all of these people. Like there's not that many microphones that you can have. You won't You're not going to mic up every individual player because then you would need to mic up You need You need like 100 to 100 microphones, which is not reasonable.

[00:15:45]Um so then instead you have the orchestra having a bunch of overhead microphones um all over the place, which will then take all of it. Which means if the second first violin messes up, you have to start over.

[00:16:02]If the flute messes up, you have to start over because even with all of this, the sound The microphones are not super directional. They are designed to capture everything. So if you're playing you're the first violin and you're playing beautifully and then the flute messes up, the audio is going to bleed into this microphone.

[00:16:23]The audio is going to bleed into this microphone and everyone has to start again. Like the level that you have to be to play in an orchestra has to be extremely high.

[00:16:34]Um Maybe you could go like, "Okay, first of all Yeah, you can do that. You can do that. The problem is that usually that requires to be some sort of silence and that will be completely up to the composer.

[00:16:47]Yeah, like you can't do the kind of uh merging of files that you can do for for individual like guitars or that kind of stuff uh because the sound will tell.

[00:16:57]Like you you will the the sound doesn't bleed the same and the sound won't merge the same way because you're doing such a massive ensemble. So it is possible, especially if there's some sort of silence, but it's extremely difficult. So these orchestras, the the people that play in these orchestras play at such a high level that they usually are able to do this all in one take.

[00:17:20]And that's what they're trained for and that's what they work for. And orchestral music does have that very brutal um rotating door that if you mess up once there's five people waiting to take your place, out the door you go. Like I remember going to um Australia but I started to blend maze because you could have mass those tails. Um just while I mean once you're adding electronic elements then yeah, you can you can start uh doing different things but usually the way it's going to be you're going to have the orchestral piece recorded and then you're going to add the electronic elements on top of that.

[00:17:55]If you're trying to do both of them at the same time, it's going to be an extremely even more difficult process.

[00:18:01]So it's um it it depends on the composer, it depends on the engineers and how they approach these kinds of things but in general trying to um do a second take like halfway through a single measure or something like that from a um from a film studio orchestra or that kind of thing extremely difficult to do.

[00:18:20]So they just train themselves to be able to do everything all at once in one take. Just don't mess up and you're good. That is that is unironically the standard of most most orchestras, yes.

[00:18:32]Don't mess up and you're good. You play absolute perfection. You can have a couple of practice rounds at first to um to get rid of any errors and you just play at that high level. Yeah. Anyway, let's see how this ends.

[00:18:45]So we're having this.

[00:18:48]Trumpet to the top.

[00:18:50]Nailed it.

[00:18:52]>> [music] >> Trumpets up.

[00:18:54]There we go. Bring it back to the piano.

[00:18:59]Extending that ending.

[00:19:02]Complete chaos.

[00:19:04]And we have one last couple of things and there you go.

[00:19:10]It just uh it just ends. It just ends like this. I don't like it when when uh composers end their pieces like this because it just makes this massive machine of an orchestra that you just had feel like it has no weight. That is just my opinion.

[00:19:27]Um usually you want to give them a little bit more breaking room. In this case, we had like the whole Oh, there's a whirlwind that took up everyone and it just kind of ends. And I'm pretty sure that for the game they were like, "Okay, 2:18 is like the end and that's it." And yeah. And with that, there you have it.

[00:19:42]Let me get the translation again. Uh there you have it. Absolute chaos of a piece, but that actually made up that it actually kept up um for this kind of stuff. I would not want to be somebody in that orchestra. With that, there you have it. Birth of the devil by Sakuzio, the ninth KSC final song from the Nostalgia OP3 Symphonic Poems soundtrack. Once again, everybody, this has been a Bastard Zelphae, a layman-friendly analysis of a professionally trained musician and composer. My objective here has been to explain explain things in a way so that you don't have to be one to understand what's happened here musically to the best of my ability. So, if you're watching this in the YouTube video archive thing, thank you for watching.

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[00:22:27]Linked in the description or search on YouTube same username as James R Bastard. Just replace the R with reacts, and you got it. Extend the R to reacts, and you got it. And uh yeah, there you have it. Opus 3 Sakuzio. What an insane composition as usual. There [snorts] you have it, man. Insane stuff, dude. Insane stuff. But uh yeah, let's move on. Let's move on.