Post by Deleted on Oct 15, 2015 18:01:38 GMT
I used to be way into a Vocaloid producer called 'Pinocchio-P' who mainly works with Hatsune Miku (usually with fast paced paced lyrics) like so:
I think it's cool how even though she's a non-human entity people ascribe emotions and character to her in so many different ways. In the video above she takes the role of a manga character in a serial that's about to be cancelled- there's a clever pun at the centre of the chorus that kinda makes the song imo: 'jan' (isn't it) sounding like 'Jump' which is a magazine that publishes weekly manga.
In the 'B Who I want 2 Be' lyrics Amuro is singing SOPHIE's original lyrics while Miku is ruminating on ancient western culture... Vocaloid is exciting because it often gives producers space to explore more esoteric concepts surrounding emotions and humanity- see another pinnochio-p number 'Tho' which is how boring a Hegelian utopia would be (or something!)
I guess what I'm trying to say that one of the advantages of Vocaloid is that the sense of unreality you get from it can be used to the producers advantage to talk about big concepts. In 'B Who I want 2' SOPHIE's lyrics play with pop cliché and by extension humanity e.g.:
'All my friends keep asking me, are you happy?
Happy as a girl can be, are you happy
I'm actually ecstatic, I'm so happy'
which is sung emotionlessy even though it's about the fantastically human feeling of 'happiness. Basically, one aspect of SOPHIE's (and other PC related acts) style (imo) is that they're talking about a human concepts from one step removed and vocaloid can do this as well. This is kinda similar to how Hannah Diamond looks at superficiality in 'Every Night': it's all about what she see's the love object doing and how they see her even though the lyrical content almost sounds like cliché pop.
P.S: sorry for the rambling essay
P.P.S: read this again and it kinda sounds like a Pitchfork thinkpiece im sorry bout that but this is all just my interpretation and im probably going way too pseudo-intellectual with this
I think it's cool how even though she's a non-human entity people ascribe emotions and character to her in so many different ways. In the video above she takes the role of a manga character in a serial that's about to be cancelled- there's a clever pun at the centre of the chorus that kinda makes the song imo: 'jan' (isn't it) sounding like 'Jump' which is a magazine that publishes weekly manga.
In the 'B Who I want 2 Be' lyrics Amuro is singing SOPHIE's original lyrics while Miku is ruminating on ancient western culture... Vocaloid is exciting because it often gives producers space to explore more esoteric concepts surrounding emotions and humanity- see another pinnochio-p number 'Tho' which is how boring a Hegelian utopia would be (or something!)
I guess what I'm trying to say that one of the advantages of Vocaloid is that the sense of unreality you get from it can be used to the producers advantage to talk about big concepts. In 'B Who I want 2' SOPHIE's lyrics play with pop cliché and by extension humanity e.g.:
'All my friends keep asking me, are you happy?
Happy as a girl can be, are you happy
I'm actually ecstatic, I'm so happy'
which is sung emotionlessy even though it's about the fantastically human feeling of 'happiness. Basically, one aspect of SOPHIE's (and other PC related acts) style (imo) is that they're talking about a human concepts from one step removed and vocaloid can do this as well. This is kinda similar to how Hannah Diamond looks at superficiality in 'Every Night': it's all about what she see's the love object doing and how they see her even though the lyrical content almost sounds like cliché pop.
P.S: sorry for the rambling essay
P.P.S: read this again and it kinda sounds like a Pitchfork thinkpiece im sorry bout that but this is all just my interpretation and im probably going way too pseudo-intellectual with this