Laur - Viyella's Memory // Reaction & Analysis

[00:00:00]Hey, what's up everybody? Welcome back to another Lower Reaction. We have another Viela song. I think I've heard at least one of these if not two and apparently it is now Saint Beppo's whole thing to let me hear all of these songs.

[00:00:12]There's a few people colluding in the executive producers that want me to hear all of these. So, I suppose if you're interested in seeing me get to all these, it'll definitely happen in time, but I guess today we have Viela's memory and without further ado, let's go.

[00:00:29]>> [music] >> I didn't like re-listen to any of them, by the way.

[00:00:34]So, if there's any motif stuff, I've probably forgotten. I'll be real with you.

[00:00:43]I'm not sure if that's going to happen.

[00:00:46]>> [music] >> But, I wouldn't be surprised.

[00:00:52]Ooh.

[00:00:55]Okay.

[00:00:56]Keeping that identity part of it for sure.

[00:01:00]>> [music] >> Scales.

[00:01:02]Arpeggiate the [ __ ] out of it.

[00:01:08]>> [music] >> Mhm.

[00:01:18]Like really quick kicks.

[00:01:34]I'm not recognizing anything motif-wise yet.

[00:01:40]But, the general vibe, very much so.

[00:01:42][music] I wouldn't be shocked if there was a motif though. I'm just not hearing it.

[00:02:00]It's been too long.

[00:02:07]Good. Harpsichord going to town.

[00:02:17]>> [music] [music] >> Now the synth takes the lead.

[00:02:28]>> [music] [music] [music] >> Those chords kind of sounded familiar.

[00:02:46]I don't know if it's another Lower song though, but it does sound kind of familiar.

[00:02:54]>> [music] >> I think if anything is the motif, it's going to be just the identity of arpeggiated every single possible scale.

[00:03:05]>> [music] [music] [music] [laughter] >> That's what I'm talking about.

[00:03:29]All over the place.

[00:03:40]>> [music] >> I love these gorgeous interludes.

[00:03:49]Almost always followed up by this.

[00:03:53]>> [music] [music] >> A little bit of a modulation there.

[00:04:07]I don't think it went into a key change, but it like almost did.

[00:04:16]>> [music] [music] [music] [music] [music] >> Maybe this is the most evil.

[00:04:46]>> [music] >> Could be.

[00:04:55]But it doesn't sound quite familiar enough.

[00:04:58]I don't know.

[00:05:00]>> [music] >> I keep trying to find one. There might not even be one.

[00:05:09]The last thing I want to do is hallucinate something that I know isn't going to be the case, you know? I can assume and I can predict, but I cannot remember what the originals that I have heard sounded like without re-listening to them, obviously. It's been at least 2 months since I've done any of those songs really from the Viola stuff. It's all Viola doing Viola things, right?

[00:05:33]Like I spent a lot of time on this song just working it out, and a lot of this boils down to being constant modulation. And that's great, but it also means there's a lot of the same happening, but also just slightly different. Like for example, we start with this F minor, B flat minor, C relationship.

[00:05:56]>> [music] >> That's where the song starts. And that exact progression happens in like three different modulation variants of that.

[00:06:07]Because then we also get that exact same thing in like E minor, A minor, B, which I think is C flat here, but either way kind of irrelevant. Same exact progression >> [music] >> that we get the last time. And we do this again and again throughout the song. It moves it just a little bit every single time. Another one for sake of example, G minor, C minor, D B minor. And it does the exact same thing. That is the core of this track.

[00:06:38]It is everything for this song. And basically the only other thing that this song does aside from follow that exact same motif in slightly different modulations is what happens with the synth. This is a different sort of pattern here and it introduces a little bit more stuff, but it also goes through the modulation throughout the song. So, this is just one variant of it, but it's like G minor, D minor, E flat, F B flat, C minor A D. I'm pretty sure that's it. I'm confident enough. I mean, it feels right, but it's really hard to figure some of this [ __ ] out.

[00:07:18]And again, those kind of change, too.

[00:07:20]So, this song is just constantly moving things around and trying new stuff. By the way, I did also check which songs I had heard. It was Cries of Vala and Vala's Destiny. So, like I'm I'm too deep into this and now three deep into this. And each one feels unique enough that I don't recognize anything in this song that might be a motif from the prior ones, but it has been long enough that I might have just forgotten. There are elements to this that feel very familiar. Like there is an overall like musical identity to these songs, and I might have noticed that before in the prior one even, but out of number three, this still sounds very original. Like it's not doing the exact same thing every single time. It might be borrowing some of those same ideas, but that doesn't mean it's the same song, and that's what's important when you're doing these sorts of like multiple song deep sort of storylines, or just based on the same character, or the same general approach. You know, like you have to have some sort of identifiable quality to them, and I think these do have that. I think if anything, I'm more shocked that I haven't recognized anything out of this song. Albeit that one general motif for the synth could very well be, and might be my best guess as to there being one at all. Either way, it's Lauer doing Lauer things. It's Lauer's thing. Lauer's thing is just doing a Lauer. And I think what Lauer's thing is is mostly just shredding all over the piano mainly. Of course, you have the harpsichord in there, and that helps balance it out a little bit, adds some texture, but overall, it's just Lauer kind of just shredding on the piano, and just having a good time with it. I'm pretty sure that Lauer isn't playing these. I'm pretty sure it's programmed. I would be absolutely immaculately impressed, severely impressed, if there were actual manual playing of all of these, cuz like Jesus Christ. But for all I know, maybe Lauer is actually secretly an extremely well-trained pianist, and we're just getting actual recordings, or at very least based on real recordings, and just refined later. But either way, still making some amazing songs, and I have heard a lot of other sounds that Lauer has done. This isn't the only sound that Lauer has in their back pocket. It's just super cool to hear a specific tone for this one character and their journey and keeping that consistent. Like again, I'm not recognizing any specific thing other than the general vibe of these sounding very much the same. And that's really cool to me. And like I mentioned, there's a collusion going on in the executive producers for me to hear all these Viola songs, so I'm sure I will in time, if not sooner than later. So, I will be hearing quite a few more of these. I don't know how many of these there are even, but I'm sure there's a couple more. If people are like, "Yeah, do it more. more. Here, have another link." Like that's basically what's been going on in my executive producer queue.

[00:10:09]So, I'm sure I'll get around to more of these, but this is just another one, the third one in a series of who knows how many, and I'm interested every single time to hear what else could come out of these. Maybe I should start re-listening to some of these, but I don't know if there's like a specific like order for them. I think somebody mentioned that there is, but I don't know what that would be or even if I've started with the right one. I doubt it. So, let me know if you want me to do that and like check each one every single time I get to another one of these. This might even be the last one. I have no clue. But I think I'm done yapping about this one anyway, so thank you all so very much for watching. If you enjoyed this video and you want me to get to something else, by all means, drop in the comments below and I'll let you know my best as always to get to those. Or if you want to guarantee something, much like Saint Beppo did for this one, you can go to my Patreon and guarantee something there in the executive producer queue, assuming it's open. You can guarantee whatever you want. Doesn't matter who it's by, what it's from, if it's good or bad, none of that matters. That's why it's guaranteed. But 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 all of you in the next video. Goodbye.

[00:11:12]>> [music] [music] [music]