Wuthering Waves - Eisodus // Reaction & Analysis

[00:00:00]Hey, what's up everybody? Welcome back to another Wuthering Waves reaction.

[00:00:02]Today we have Isis as requested by who did it? Oh my god, I forgot their name.

[00:00:08]Hickory, hello.

[00:00:09]>> [laughter] >> I am losing my [ __ ] today. Anyway, this is Isis. I am going to be reacting to it. I don't know what to expect just that a lot of people agreed that I should be listening to this. So I'm going to. I also saw a comment that there might be another version of this.

[00:00:24]I'm just going to be doing the one and I hope it's the one that people want me to listen to. I don't know. Those version options always throw me off. Either way, let's go.

[00:00:40]Okay.

[00:00:50]Moody.

[00:00:51]>> [singing and music] >> I know that voice.

[00:00:58]>> [singing] >> I'm going to have to look at the credits after this.

[00:01:06]I know that voice.

[00:01:08]>> [singing and music] >> Hmm.

[00:01:14]It's a sloppy snare, too.

[00:01:18]Got some like low-end crunch to it.

[00:01:25]We have a zither of some sort.

[00:01:32]Can't tell which one it would be.

[00:01:36]Too many of them.

[00:01:38]>> [music] >> Hmm.

[00:01:43]Yeah, that kicks. That kicks right in.

[00:01:46]>> [music] >> Oh, yeah.

[00:01:54]Woo.

[00:01:55]Oh.

[00:01:57]>> [music] >> Damn.

[00:02:03]Those little delays in there, come on.

[00:02:09]Love the tom fills.

[00:02:11]Great drum part.

[00:02:18]>> [music and singing] >> Ooh.

[00:02:26]Blending samples and the acoustic kit there.

[00:02:35]>> [music] >> Ooh.

[00:02:49]I really want to listen to this chorus very closely this next time. I'm not going to say anything.

[00:02:55]I'm going to try to hold back my excitement.

[00:02:59]I really want to hear details here.

[00:03:09]>> [music] [music] [music] [music] >> Love that. I love that so much. That's such a good chorus.

[00:03:39]And not just because of that like off time like delayed return.

[00:03:46]>> [music] >> See, I can't tell if that's like a koto or not.

[00:03:56]It could be a Chinese variant.

[00:03:58]>> [music] >> The name is escaping me of the Chinese zither.

[00:04:04]>> [music] [music] >> Love those toms. So good.

[00:04:16]>> [music] [music] >> Mhm.

[00:04:38]I want to say guzheng.

[00:04:40]That might be it. I'll have to look it up.

[00:04:43]The Chinese version of a zither.

[00:04:46]One of a few.

[00:04:47]There's There's so many borrowed instruments between Asian countries that it's like, "Okay, which one is this?"

[00:04:55]Couldn't tell you. It's the same instrument in a slightly different country and it's like, "Where are we?"

[00:05:00]>> [laughter] >> I mean, they sound beautiful and everything anyway, but it does get pretty hard to be able to tell. Anyway, gorgeous song. You know how I felt about the chorus. There is so much for me here. So, a few things I was right on.

[00:05:13]One, I have heard this vocalist before.

[00:05:15]It's For Those. Pretty much a mainstay on the channel. Very much a legendary name as far as I am aware. And their voice is [ __ ] banger every single time. I love the sound of it. It sounds great. Always has power. Fits perfectly basically in anything that's even sort of kind of rocky. And also has the range to be able to handle something a little bit more classical and a little bit more soft. So, love that. Love the range.

[00:05:39]Love the ability to utilize that in every way possible. The other thing I was right about is it was called the guzheng. I don't know if that's actually the instrument that they're using here, but it would kind of make sense. That's like the Chinese zither, the most popular plucked zither that they have.

[00:05:53]And there again are variants all over Asia, all over the world in general, so it can be hard to tell. But just based on where the game is taking place and you know, their world, it would kind of make sense for the character. Sure, so let's go with that one, probably a guzheng. Could be a koto, not entirely positive. Regardless, it's a zither, that much I can tell you for certain.

[00:06:14]Either way though, this song has so much into it that I'm not even going to really focus much on those parts that really got me going because that's just because it sounds cool, right? Those little gaps in there, woo, you know, like it's awesome. It's really cool to hear. I love those textures, those change-ups, those things that wake your brain up a little bit instead of just staying with the safety on. They like to just change things up and really change around what the song is doing to add more impact. They did that for this song. I love how it felt. They nailed that. However, this song is so dense on what it does musically that I want to talk about it. And what we have for this one is basically G minor, I'm pretty sure. There is I think it's an F. They might go down to a C. Yeah, that's the like transitional chord that they have there. So we have G minor and I think it goes E flat, C.

[00:07:08]A flat, yeah, that's it. That's that lift. So C and then A flat. I think F is in there, but between that and C it's kind of whatever is needed for that moment in the song, but those are our chords. It kind of goes from like an A I think down to or an A flat rather, down to I think the D. Yeah, cuz it would >> [music] >> Yeah, okay, so that's it. So I'm kind of finding this out as we go. I'm recording a bunch of these in a row and I'm trying that out and I'm kind of going a little bit more rough and tumble with my uh approach to this. So, this song is really cool for that reason, but not that reason alone. This is a really nice chord progression if [music] you just kind of have that alone because it's separating those chords quite a bit. These are [music] pretty significant jumps in where the song is going, and this A flat really lifts things up. So, it could go like down to that C and then up to the F, for example, or that C into the D and continue on from there. There is a lot of flex that can happen between because of the stretch between G minor and E flat and the C and the A flat. There's just a lot of real estate between there as far as notes go and what you can do with that. But again, this song is cool for a few reasons, and one of those reasons is that whenever we hit the E flat, we're actually doing an E flat major seventh, which is literally just a G minor that we've already done, but with the E flat on the bottom. So, these connect very well. Just kind of going from those just adds a little bit more beef to the chord there, and that transition is obviously super natural because of that.

[00:08:55]You don't have to move your hand much.

[00:08:56]It just adds a little bit more of that grounding force at the bottom, and then it moves on from there. So, that is a factor. We also get a little bit of that with the A flat as well. We get I think it's actually that. So, it's an A flat seventh right there, major seventh. So, that's cool as well. Just another beautiful sound.

[00:09:16]Hooks it back into the G up here, and it just works really nicely. Everything in the song flows beautifully, and then we get to the chorus. What's cool about this is that we have been sitting in that G minor E flat, and then for the chorus, we actually just kind of change it down to a G. Now, we have a shift in the energy of the song that happens pretty much exclusively during the chorus and and we have uh more of that C down in there. We go up to I think a D minor in there, as well. And it's just an interesting case because we have that D minor, but also the D I mentioned earlier. So, like that relationship changes the song again. We have that same minor relationship with the G and G minor. It does the same thing on the D and D minor. So, what this does is wake the song up. Instead of sitting in that minor relationship the whole time, you wake it up into the G. That becomes the new root for the chorus and you take things that way. You have the G, [music] the C, the F, and the D in there. And this entire song is basically now in a major key. So, now we've shifted the energy to a more positive light. That's great for the chorus. We do change out some chords in the song as it goes. It basically just depends on what you need for exactly the moment you're going for.

[00:10:33]Like the bridge changes up how that gets approached. But, what this does is take the song from a more solemn, very broad approach, like I was playing earlier with these chords, and now it has this very, like, bright, connected sound that is way more positive because everything in there, except for that D minor when it is utilized, is a major chord. It's just how music do. It's music theory. It's why the relationships of things work.

[00:11:03]And choosing the moment of the chorus to be able to boost up all that energy is obviously the best choice to do so. You want the energy to go high most of the time when you're getting to a chorus, especially for a song like this with all of this energy behind it. It just makes a lot of sense. This is a song that works almost exclusively because it's written in this tried and true path of starting in a slightly more solemn, lower energy and then brightening it up for the chorus before returning back in and just trading off whatever it needs.

[00:11:31]And again, somewhere in the middle with like a bridge after the first chorus or something. They would blend those together and play around with a little bit more, add some more stuff, maybe more of those sevenths in there to really brighten things up. And that's why I like the end of the song, too, because we get a little bit of that direct relationship for that G minor and then the E flat kind of relationship in there. It kind of just jumps literally between these.

[00:11:55][music] And that's how the song ends. It's soft, it lets it play out, and the entire thing kind of just kind of fizzles out at the end. And that's a good energy for this song to end on. Again, the lyrics in here are great. Forts did a great job singing it. The power is there, the presence is there. Everything just kind of works for this song. I don't have any negative notes because it's just a good track. I don't know if I would call it one of the best songs I have ever heard, but what it does do, it does extremely well, and it does it confidently. That's a performance function, that's a writing function. They did an extremely good job at again, what is a tried and true method of writing a song for this sort of boost. Having that softer tone in the beginning, getting a little bit more like emotional as it goes, and then brightening it up, and making sure that the listener is there for that journey.

[00:12:45]So, a fantastic song all around. No notes for me. Great job, team. You know, like that's about all I can say on this one. Thank you all so very much for watching. If you enjoyed this video and you want me to get to more stuff like this, by all means, drop in the comments below, and I will do my best to always to get to those. Or if you don't want to do any of that, maybe just want to follow me and support me for more stuff coming in the future, you know how to do all that, and I'll see you all of you in the next video. Goodbye.

[00:13:14]>> [music] [music]