SLAVE.V-V-R feat. MEIKO - 私の恋はヘルファイア // Reaction & Analysis

Hinzugefügt: 2026-06-05

[00:00:00]Hey, what's up everybody? Welcome back to another reaction. Today we have a song from Miku, which is weird because I've only ever heard a few songs from Miku, but also a Vocaloid I really like personally and just never really got the love that I feel that they deserve. But either way, apparently the event and my executive producers wanted me to get to this one and it's a 17 year anniversary for her. So that's pretty cool. I know it's not this year, it's just what was when it came out. But I'm excited to hear more from her because like I never get to hear enough of her voice. Like truly. I That does bug me a little bit, but I'm going to get out of that mind space and just listen. So without further ado, let's go.

[00:00:42]>> [music] >> There's just a charm to it, you know?

[00:00:47]>> [music] >> Wow, it's like an original song.

[00:01:11]I really love those pauses.

[00:01:12]>> [music] [music] >> Yeah, that squeak out there.

[00:01:33]Really going for that squeak.

[00:01:37]>> [music] >> Miku's whistle note.

[00:01:45]It's It's always a shame to see like basically [music] an abandoned library, right? But like they've got such [music] a charm, man.

[00:01:59]Especially when master like an actually fun instrumental.

[00:02:14]>> [music] >> I don't think I've ever heard her whisper. That's kind of cool. I didn't know she could do that.

[00:02:26]>> [music] >> I love the bounce this song has.

[00:02:52]>> [music] >> Maybe I'm a little bit biased cuz I like the jazziness of it.

[00:03:03]>> [music] >> It's just a [music] really fun track.

[00:03:21]>> [music] [music] >> I really love those stings. Those are really fun. I I hear a lot of Vocaloid stuff doing what I do in general, but also I heard a lot in the past. And there are certain songs where you could just tell that the people were having fun while making the song because they were like, "Ooh, let me do something weird." You know, like [laughter] musically getting a little bit more creative and having fun with it instead of just going like, "Ah, what's popular right now? Let me make that." And this feels like one of those songs where they're just like, "Oh, I've got this weird idea that I want to flesh out into something and now I have an opportunity to." This was really fun. All right, so like I was saying, this is a really fun song. I appreciated the little stings that were happening in here. It's just one of those feelings where That That is a feeling. You know, that's something where the musician who's making the song, the composer, is like, "I want to do something that's a little bit different and not just the usual four chord fair." And it's totally fine to do the four chord fair and just doing the usual standards, but it's always a blessing when people decide to step away from that and do something a little bit different. Much like this one which played a lot with having these weird chord patterns going on that was creating a lot of tension in the song.

[00:04:55]The majority of it was like this C sharp minor, D, C sharp minor, C, but technically it's a B sharp.

[00:05:04]That's one of those enharmonic chords where they're the same thing, but it's like it's a C. And that's where we kind of sit for most of the first stings of the song. So that whole >> [music] >> sting sting sting. You know, just bouncing between those and I love that. Just keeping on the root and jumping to these adjacent chords that usually don't tend to work well together because they're a little too close, but it makes this tension happen in the song, which is definitely a music theory thing to do. Just kind of working with the music to be able to create that sort of sound. You have to break those rules in order to make extra tension in the song and that's what was happening here. And I really love that relationship as a result of it because like we do get a little bit of a different movement for the chorus. And that's just at a different part of the keyboard and also utilizing kind of a jump in the chords because we start with an A.

[00:05:58]We get a G sharp. And then it jumps back up to that C sharp minor. Like that is kind of the the rest of the song, you know, aside from the stings. That cycle is everything that this song is.

[00:06:12]And it's an absolute blast. It's just so much fun. And it get a little bit weird because we have these first two which are similar to like the relationships that we had before, but instead between these two, we jump up way away from that and we expand beyond. And for the record, in this song there are a lot of sevenths going on. So a lot of things that are leading your ear in another direction. A lot of that is mostly used for like the little solo stuff and just the freestyling that was going on during the song. But some of it is because of things like this. That being the G sharp seventh. So we have that which hooks us into the C sharp. It's just these little things, right? That make the ear go, "Oh, we're up there. Let's go up there."

[00:06:56]It's just a a slight psychological game that they're playing when they use things like that in order to make you feel like you're going in a certain direction emotionally or physically. I don't really think there's an emotional direction tied to this one. I think it's just because it sounded better when you have things like a seventh involved here because there are sevenths being utilized in other spots as well. And a great example of that is actually the A major seventh. And that that's a major seventh, not a standard seventh, but that is literally a C sharp minor with an A involved. That is like the most direct connection you can make and a great direction to go. So if you're starting at this A and working your way down, you could just use that to root back cuz it's already there, you know? You lift it up, you have that seventh on it for this one because there's also like the C sharp minor seventh which actually utilizes a B. It's not the A that we've been sitting on. So like you need something to resolve that a little bit before you get back down to the A. So having these sorts of relationships here can kind of crunch up against each other if you're not too careful, but in having that hook with the exact same chord, it's just in the other direction and on a different note, it creates that essence of movement backwards into the prior chord and it just feels really good in that whole cycle of the track.

[00:08:16]So this is one of those songs where like I said, it's fun to have a little bit going on and it's always nice to hear producers do these weird things with music because there there's a lot of people out there who don't do this. And it's also just nice to hear it with Miku in general because like I mentioned, she's not really utilized. I'm sure anyone watching this probably knows that, but there is a charm to that like super robotic style of Vocaloid to me that like sure, you get like the AI versions of whatever [ __ ] Miku and everything, but I'll always appreciate the sound of these older ones, these older models especially because like those might have better general attenuation to the notes and everything, a lot better adjustment for those sorts of humanizing factors, but part of me just loves not having that in there at all, you know? Like there's definitely a a joy of listening to a Vocaloid song that I feel like has been forgotten in time due to the advancements and new versions that come out of all these other ones and those are the ones getting popular and used all over the place. And while those are also great, I love it. I also love hearing these ones that don't get used all that often and have qualities to them that never really got ironed out or polished or anything.

[00:09:29]I don't even think I would call it nostalgia doing that to me or anything because that usually would be the answer. I think it's just a quality to the voice that feels a little bit more natural by being unnatural in this case.

[00:09:40]It's like before you get to the uncanny valley, we're up here with voices like Miku. And it's like, "Okay, cool. Stay there." Because like you could go down into the uncanny valley and come back out on the other side. That's kind of what like the AI versions of like Miku and everyone else, like Teto and everything, have been doing. Like they're outside of that uncanny valley.

[00:10:00]They basically skipped right over the uncanny valley and are still doing a great job at what they are. But there's these other ones that just kind of get left on the other side of that chasm and it's like good, you know? Sometimes I like to revisit that sound. And even though it has been 4 years since this song came out, it's still nice to hear it in this decade in general. So, that's fantastic to me. And again, that might be a little bit of nostalgia talking on there, but the qualities of the voice aren't so much that as it is just an appreciation for the art form of Vocaloid in general and what it is without having all of the fancy, you know, new stuff kind of sprinkled on top of it or complete reworks in some cases.

[00:10:42]It's just a quality thing that I think is really nice to hear. And when you have a great producer like this one working on a song that has a lot of interesting things going on and is fun to hear, fantastic. I will say my one knock against it is having her hit that highest note might have been a little bit too much. You know, like once or twice kind of like hitting those max accents would have been great, but I feel like you could have bumped that down an octave and it would have felt a little bit better for the majority of the song since it feels like you're hitting the highs so many times. And unlike Mariah Carey, you can't just keep doing that and expect people to clap, you know? There There's a limit to it.

[00:11:20]And I think she was riding that line of patience and I'm sure a lot of people probably had a similar feeling. I don't think it's a bad choice. I just think that her going up and hitting that high note so many times kind of ruined the impact of that climb. And that's just a general thing that I noticed. I don't know how many of you guys probably agree with me or disagree. Feel free to let me know. But that's a quality that happens pretty often in Vocaloid is just people trying to push the absolute max out of a voice and just not really letting it be in their what I would call prime range.

[00:11:52]This happens a lot with Teto, too. I think she has a very solid low range and low register to her library, but nobody seems to use that really. So many people just want her to sing in that higher register and it's like, "No, she has a really nice warm bottom end." And it's just like, "Use that, you know? Allow that to resonate a little bit. Stop [ __ ] just throwing the notes up there every single time." But that is really just me rambling, so I think I'll call it here. Thank you all so very much for watching. If you enjoyed this video and you want me to get to something else, drop in the comments below and I will do my best as always to get to those. Or if you want to guarantee something much like Deven did for this one, you can always go to my Patreon or my YouTube memberships where you can force me to listen to something. Doesn't matter what it's from, who it's by, if it's good or bad. None of that matters. That'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.

[00:12:42]>> [music] [music]