Persona 3 - Full Moon Full Life // Reaction & Analysis

Hinzugefügt: 2026-06-04

[00:00:00]Hey, what's up everybody? Welcome back to another reaction. Today we have something that I don't think I've ever actually listened to, something from Persona 3. I've heard music from Persona 3, but I haven't heard anything specifically from Persona 3. You know, like I've heard all of Persona 5. Lord knows I've listened to Persona 5 a thousand times, but I've never listened to just specifically Persona 3. And Dorje season my executive producers wanted me to get to this one, so here we are. I don't know what exactly the song's going to be obviously. I just know the rough genre it's going to be.

[00:00:33]So, I suppose without further ado, let's go.

[00:00:37]>> [music] >> Yep.

[00:00:39]That is what I expected.

[00:00:44]It's also possible might end up sounding familiar.

[00:00:47]>> [music] >> But so far, no.

[00:00:59]>> [music] >> Ooh, ooh, I love that beat.

[00:01:02]The pauses in there were very tasteful.

[00:01:09]>> [music] [music] >> Hey.

[00:01:20]Wait a minute.

[00:01:22]We're grooving.

[00:01:24]Now we [music] bopping.

[00:01:30]>> [music] >> You know?

[00:01:38]>> [music] >> There needs to be more music [music] with a jazz organ in rock, you know?

[00:01:51]Right?

[00:01:52]It just fits so well.

[00:01:54]>> [music] [music] >> I do kind of love the hype man vibe this guy has.

[00:02:07]Yeah.

[00:02:09]Let's go. He's just in the middle.

[00:02:11]Like who let Terry in? God, this guy.

[00:02:18]>> [music] [music] [music] >> Mhm.

[00:02:31]I mean, again, I knew it was kind of going to be jazzy, which I love, but I didn't expect this. This was new.

[00:02:41]>> [music] [music] >> I really haven't heard enough from this game [music] then.

[00:02:55]Cuz there's no way this is like a one-off sound, right?

[00:03:00]>> [music] [music] >> I also like how they changed [music] what the chords were doing.

[00:03:19]So, affect that energy >> [music] >> lifting up more.

[00:03:33]>> [music] >> Mhm.

[00:03:42]>> [music] >> I know it's not like what's canon to this, definitely not, but I'm imagining this girl singing this right now and this guy being Terry the hype beast.

[00:04:02]I don't know, [music] it just feels right.

[00:04:07]I assume that's not accurate at all to their personalities, but maybe.

[00:04:14]>> [music] [music] [music] >> Now I'm [music] just vibing with it.

[00:04:35]>> [laughter] >> The shock has settled.

[00:04:40]>> [music] >> I [music] love that build-up, too.

[00:04:48]On the keys there.

[00:04:51]>> [music] >> And how it keeps going between.

[00:04:57]It's really nice having that constantly present.

[00:05:01]>> [music] [music] [music] >> I assume that's the end, right?

[00:05:24]Yep. Man, okay. So, as somebody who's only really ever heard the Persona 5 soundtrack, I'm definitely hearing similarities here.

[00:05:35]I don't know if that's like intentional or not or if they use like the same producers because there's definitely some similarities going on, but totally not the same vibe, which makes sense.

[00:05:44]Different game, different characters.

[00:05:46]You wouldn't have the exact same sound, but I can hear there's some similarities going on with this and I kind of like that consistency even though I don't know the games like that. The fact [clears throat] that they have that at all is really interesting to me. Okay, so this song is exactly as I expected with it being as jazzy as it was. This thing is covered in flats, minors, and sevenths. All of it. Every single goddamn part of it. And if you don't know what those are, they are the bane of my existence as somebody who's fairly new to playing the piano, but like sevenths are interesting because they allow you to have more flexibility in your chord structure. They add an extra note on the top. They become a four-note chord instead of a three-note like a standard triad would be. And now we have more complexity in how to play them. And the fingering is what makes it suck because I'm not that good like I said.

[00:06:36]So, this song being absolutely riddled with them, literally everything in this song is a seventh, but that's exactly what jazz does, right? It allows itself to stay open. It opens end wherever it needs to and it has that flex to go where it needs to. It's just the fact that it's hard to play. So, I apologize that I will be struggling a little bit while trying to show you guys some of these things. And for a lot of it, I might just simplify it to the threes cuz I'm way better at those. But I did put in the effort to learn some of them, so we're going to have a few of those. So, this is where we start. D flat major seventh. Major seventh because it's a major seventh, not a standard seventh, which just doesn't sound as good. The reason that certain sevenths work and major sevenths are required is purely based on what the key is doing. And for this one, we have F minor, so it's a little bit more weird with where you need to have certain sevenths on there.

[00:07:27]So, that's just one of those cases there where we have a D flat major seventh that works within the key rather than this, which like you just heard does not sound nearly as good. So, start here and then we also have C minor seventh. This is a standard seventh, not major seventh. So, we now have that as well. And that's just kind of the alternating vibe we have going on here is between this and between this.

[00:07:54]And we also do have, like I said, everything else. And the general chord progression for this one is pretty simple. We go down to the B minor and up to the F minor, so we have >> [music] >> which is a very emotional, thought-provoking sort of chord progression. It's something that starts high, drops low, meets you in the middle, and then raises up a little bit.

[00:08:16]It kind of adds a question mark on the end of it. It's something that just brings you into this sensation of longing in a way, the way that it's structured, and that's really cool, especially for this sort of like a jazzy sound, very common, but also just the amount that it opens up, the emotional longevity of the song. You can go so far with a song like this, something that starts high, drops, [music] immediately matches, and lifts. That's not usually what things will do. Sometimes they'll start high, drop, and then work their way back up and like go the highest chord, lowest chord, and then two in the middle. That's more common and very common for things like rock where you want to have that build back up, but you want more emotional emphasis on that stepping back into the loop rather than starting at one and then ending a little bit higher and something that has a little bit more of that question mark quality to it, especially when you have things like sevenths being involved here and that's the F minor seventh there.

[00:09:12]So, we have all of that and this little lift of that extra note there makes it feel so much more like there is a an emotional fragility on this song. So, that adds a lot to it. And we do have this B flat minor seventh as well. So, that's just kind of one that kind of roots it back to the D minor a little bit. It's basically the same chord. This is B minor with the seventh. You can see it on my fingers here. And then this is a standard D flat. So, B minor seventh and D flat are very much within the same line and that's what keeps them harmonically like tight and it makes it feel that much more interesting to play them right after each other. So, if we forgive the seventh up here, it's a very easy adjustment to just walk right down to that and then build your way back up to something that lifts. And now I'm just going to skip forward into the chorus because that little transition that the hype guy gets into basically covers the same things I'm going to be talking about now. So I'm not going to worry about it. It's just in a slightly different pattern. But what happens with the chorus is pretty fun. So now we have to find a way to get the energy to rise, but then it also settles again. It This is a very interesting emotional thing to do. So the way that this is achieved in the song is the D flat and then an E flat and then we have a C minor, E diminished, F minor. That's really cool just in and of itself having that little E diminished in there to kind of step up is really cool.

[00:10:42]You can hear how that just kind of takes a like a stumble in song, you know? Like there's a moment where the song kind of falls into itself and it still resolves.

[00:10:51]It's not like it completely falls off the map or anything. But having that little bit in there makes it feel like there's a moment where there is lacking confidence I suppose. That transition from just feels a lot more like there's like I don't know if I'm supposed to be at this level yet. And it's this emotional stepping that makes this entire song feel that much more proud. [music] And it's at the same time that it leaves us wondering is that okay? Like is the song going to be okay after a moment like that because a diminished into a minor resolution isn't something that feels necessarily resolved. It does like even though it is a resolution, it doesn't feel like the statement is finished and it makes us wonder if there's more. And of course for this song, there is more after that. Because for the second part, we go down to the B minor again. We start from here and we work our way up. C minor, D flat, E flat.

[00:11:45]But now is where we get a really weird moment where it works its way back down.

[00:11:51]So instead of just going straight up to the F minor, we work our way down to C minor. It's F minor down here. That's where we settle. We lost all the momentum we had before. We were riding high on ending it up here and it's like okay, wow, great, fantastic, energy high. Nope, never mind, lied. We're down here an octave lower and now the entire mood has settled in. They do bring this back out and they bring the song back up, but it's just the moment that they settle in to that at the end of a phrase and that's where they end it. So instead of having something that's high flying and energetic at the end, very optimistic, it lands back in reality and makes you go, "Hmm, I don't think we're in Kansas anymore."

[00:12:32]>> [laughter] >> Like it just really hits in a different way when it ends on a note that is the same one that we had earlier, but just lower, [music] more somber. And that's intriguing because now we have this emotional weight to bear. They end back in reality. That's not something that normally happens in a lot of music, but it's something that I'm sure that they wanted to make sure that they had in place for something like Persona where the entire plot of it is kind of based around the the weight of reality versus fiction and having that sort of argument go on. So having that sort of an emotional weight and lower is a very bold move that I really appreciate. They also do have a higher lift to like that da da da da da da as we're like shifting into the next gear of the chorus. It does just kind of step up, which is really cool here because this acts as a connection between the F minor and an A flat. So we have this little connection here where right here we have the F, but now we are stepping up from the half step up there.

[00:13:38]And now we're on the center of the A flat. And now we have that connection up here. It's an A flat that ends the high note on an E flat, which is similar to what we were dealing with earlier. This is a D flat that we had earlier here, but the point of this being lifted into something on the high note is purely because it goes a little bit further beyond than what we had before. So it allows you to feel like there's more to reach above. There's really no higher to go than that in this song, but the fact that it continues to build to that and shows that there's the potential we could is all you really need to have that hope stay alive, that little flame of hope. And I really like that this song does that. This is really cool.

[00:14:18]This is a great song. There's so much to talk about with this one. Just the structure of it and how they did everything with Again, I was expecting it to be a little bit more jazzy. I did not expect the rock to come into play and how that changed the sound everything. And clearly the chord progression and how it handled itself was completely changed when that happened. And I really like that they have that dichotomy in this song. The fact that you're allowed to go up, but not too far. The fact that you have something that's a little different, but also reminiscent in the same way like jazz and rock, something that doesn't sound like they should work together, connected by like a spoken word almost rap beat section in there, too. Like there is this essence that there's a transition in the song, but they're also not allowed to touch each other. They are different enough that they're completely self-identifiable, but I think that's also playing back into the whole dichotomy of the story of Persona and what it's going for with its plot. The fact that there's reality and that there's fiction and how to make these two things blend together. And I also love that they have these sorts of builds that make it feel like you can reach beyond, but at the same time there is a limit to it and that's why we come back to that lower F minor at the very end of the chorus. Like everything has been shut down, you've come out of that fictional space and reality has once again set its place. And it's just really [ __ ] good. I love how they did this. I've never thought much about the Persona soundtracks even five, the one I've listened to a bunch, how the musicality of it might be reflecting the story in this way. But now I'm going to probably hear a lot more of that that I've like listened to this song and realized how much they were focusing on that with this one. Also, I did not mention this earlier, but this is the same team that worked on Persona 5. So the fact that it sounds similar is probably just for that. They have the same people working on it, so it makes sense. But that's kind of irrelevant.

[00:16:12]The point is that they're keeping that consistency in the worlds themselves and giving each one an identifiable sound because this does not sound like Persona 5. It has its own identity, its own vocalist. It's not the same person singing. So it keeps this identity within that product itself. Even though it's within the same series, you can definitely distinctly tell that this is a Persona 3 sound and Persona 5 sound and all the other Personas I'm sure have a similar thing going on where they just do not have the exact qualities. Just similar, similar enough, but not too much to the point where you get confused by it. That's a really cool quality that I think a lot of people just skip out on and I really appreciate for that. But I've yapped plenty on this song, probably a little bit too much. I'll have to see how much I have to cut out of this one. But either way, thank you all so very much for watching. If you enjoyed this video and you want me to get to something else from Persona or anything else, drop in the comments below and I will do my best as always to get to those. Or if like Dorje just did, you want to guarantee that I listen to something, you can always go to my Patreon or my YouTube memberships where you can force me to listen to something.

[00:17:13]Doesn't matter what it's from, who it's by, if it's good or bad. None of that matters. It's why it's a guarantee. 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.

[00:17:27]>> [music] [music]