Hello to anyone currently playing Kamitsubaki City Ensemble! If you're interested in more of the Kamitsubaki City story, I have a website where you can read up on those!!
Emergence Story
Narrative Story
I hope more people will love the world of Kamitsubaki City ^_^
Mesmerizer: My Thoughts on why it is THE Vocaloid song of the DECADE
(All thoughts here are highly subjective, and may feature incomplete information. I just wanted to get my thoughts out about Mesmerizer and why its success works a lot.)
As of 2020, the Vocaloid scene has been booming with plenty of new music & activity, each year bringing more and more hit songs, it's almost hard to keep track of them all. With the release of Satsuki and Channel's "Mesmerizer" music video, I think this marks an extremely emblematic song, encapsulating what the 2020s of Vocaloid is all about, and what it can become.
"Mesmerizer" is a short and catchy song featuring Hatsune Miku for VOCALOID4 and Kasane Teto for Synthesizer V. It features a highly chaotic instrumental. It is composed by Satsuki, previously known for "CIRCUS PANIC!!!" featured in Project Sekai. The music video is made by Channel (aka caststation), who is known for various viral Miku animations like mikumikuplaylist and Rabbit Hole by DECO*27. All of these details about this song are very important, and in my opinion, I think they each represent a part of the strength and popularity of Vocaloid culture in the 2020s.
Short Songs and Covers
As of 2020, shorter songs, often less than 3 minutes, have gained a lot of popularity – take a look at Kanaria's breakout hit "KING," or the songs on DECO*27's "Mannequin" album such as "The Vampire," "Animal," and "Cinderella." Part of the major appeal of these songs, and why they work so well, is that they have to be immensely catchy, easy to listen to, and most importantly in my opinion – easy to sing. That's right – one major aspect of 2020s Vocaloid culture are covers sung by utaites, VTubers, and other singers. This spreads the Vocaloid music to people in different audiences. It's much easier to sing and produce a cover of a shorter song than a longer song, and it's much more appealing to do it for a trending song. Kanaria's songs and DECO*27's "Mannequin" songs have gotten this treatment of mass-cover trends due to their singability and ease of production. (Take it from me, it's much easier to publish a Kanaria cover than producers like Yunosuke or Kashii Moimi, from whom I love covering from.) Of course, even aside from Kanaria and DECO*27, there's other producers who create shorter songs with great success – take Nakiso, Suriii (aka Three), Chinozo, Azari, and _x0o0x_ for example.
Although, that's not to say longer songs over 3 minutes don't get popular either – take PinocchioP, Kairiki Bear, Teniwoha, nulut, and Camellia for example. Both song structures have their different appeals, and it's all about how the composer utilizes that time.
However, longer songs aren't necessarily new in the Vocaloid scene, and have been the standard for over 10 years since the scene's beginnings in 2007-2008. It's shorter songs that have emerged as a new niche and new musical approach as of 2020, and it's the style more representative of this era. "Mesmerizer" takes the approach of the shorter song that's arisen in this era, while conveying a strong music composition as well. A shorter song with a stronger composition & musicality has a higher chance of staying within viewer's memories.
Chaotic Composition
Chaos, frenzy – the music style of "denpa" has gained more popularity in recent years with songs like "INTERNET YAMERO" (by Aiobahn) and "Hito Mania" (by Sasuke Haraguchi). (Although "INTERNET YAMERO" is not Vocaloid, it still deserves a mention for its audience & subculture overlap.)
As of 2020, we can hear more experimental and varied composition and production styles in top VOCALOID songs – melodic, consonant, and synchronous music isn't always the move now. Usage of sound effects as percussion (gunshots, glass breaking, etc) creates more appeal or intrigue in certain songs.
The sound design in "Mesmerizer" is, well, mesmerizing. I think it encapsulates a lot of the sweet, simple, catchy and appealing aspects of the short-form song style, while also having complexity & chaos that synchronizes with the main beat/melody. If there's a song I would most directly compare "Mesmerizer" to in its composition style, it's probably going to be "Marshall Maximizer" by Hiiragi Magnetite. Both of them have a lot of chaos going on to create texture in the song, while still being harmonious with the overall composition to create a pleasant listening experience.
There is one part of "Mesmerizer" that deserves a most special mention, which is the bridge – or commonly referred to as the "hypnosis" section. Here, the sound design is used in tandem with the MV and story during Teto's bridge part. The music suddenly seems to fade in and out to convey that Teto is not quite fully "present" in the song; her consciousness slowly fading in and out as she tries to resist hypnosis (what's happening is a low pass filter's frequency point being slowly reduced and then increased, but that's advanced audio lingo that you don't need to worry about if you don't understand).
Unique and special sound design moments like these are what draws viewers into songs and keeps them interested.
The Music Video
While simplistic music videos are common in Vocaloid in the era of 2020s, animated music videos still have their appeal and popularity as well, and have made a bit more of a comeback as of 2022 and 2023. Take songs like:
"Lagtrain" by inabakumori (MV by Nukunuku Nigirimeshi)
"Konton Boogie" by jon-YAKITORY (MV by Ichimaru)
"Override" by Yoshida Yasei (Art by Shishiya)
"Kyoufuu Allback" by Yukopi (Animation by Oz_yarimisu)
"Momiagewo Shakaagewo" by Nunu(...)nunu (dude. I'm not writing their whole name.)
"Kafu-eine" by Hiiragi Magnetite (Animation by Sena Yuuta)
Songs like these have MVs that lend themselves easily to replication for covers or animation memes within the animator community. In addition, they're just very strong and fun MVs in their own right for enjoyment. Not every producer has the energy or resources to create an animated MV like this, but being able to do so certainly gives the song a stronger appeal.
Especially within derivative fanwork, more complex MVs of songs with simpler MVs also get popular. Take the "Gokuraku Meme" that derives from Pepoyo's "Rakuraku Anrakushi" or most notably for this analysis – Channel's "Rabbit Hole" animation from DECO*27's song. These are two strong examples of the power of animation in the Vocaloid scene. Many admire Channel's "Rabbit Hole" animation for its smoothness and appealing style – many have found themselves watching it on repeat as if it's mesmerizing (heh,) but maybe most importantly, the animation features a "shock factor" in the pseudo-sex fakeout scene at the end, which contributes to its virality.
When applying these skills to a full music video, Channel really showed the best of their strengths in "Mesmerizer." Their mesmerizing animation style tells a simple story that keeps the viewers engaged with smooth tweening, strong sense of beats, and of course – enjoyable and cute dance movements. Channel also employs "shock factor" once again, towards the end of the music video in the final chorus – where Miku gets completely mesmerized/hypnotized, and goes crazy-insane. This moment is popularly depicted in the countless fanarts of "Mesmerizer," a testament to its impact. Additionally, the MV has a lot of small details about it that has caused much intrigue and analysis regarding its story. Theorizing about the meaning of songs is a vital part of Vocaloid fan culture.
Project Sekai
Project Sekai is a HUGE factor in the thriving nature of the Vocaloid scene as of 2020. Events like "Proseka Next" help smaller producers break out of niche and obscurity and helps boost their popularity. Such was the case for Satsuki, who won a "Proseka Next" event with their song "CIRCUS PANIC!!!"
"Proseka Next" isn't the only kind of event that helps boost producers. There's the regularly occurring "Vocaloid Collection," as well as demo songs and contests held for newly released voicebanks. Companies like Sega/Crypton and Kamitsubaki Studio regularly engage the community to give it vitality, and spark their creativity.
Although "Mesmerizer" is not a song for any contest or event, it's entirely possible that without "Proseka Next" and the preceding "CIRCUS PANIC!!!" song, Satsuki's "Mesmerizer" might not have been the breakout hit it became.
The Vocalists
Finally, the vocalists. Hatsune Miku VOCALOID4 and Kasane Teto Synthesizer V.
Although she hasn't received a vocal update in nearly a decade, Hatsune Miku V4X is still one of the most popularly used vocalists in the Vocaloid scene – after all, she's Hatsune Miku, who's only become more popular and recognizable to almost anyone on the Internet. Especially in recent years, many takes on Miku's design draw from her V4X design, and Mesmerizer Miku is no exception. Although V2 Miku has strong appeal in her thick hair shapes, V4X's thin hair is easier to draw, adapt to different artstyles, restyle, and reiterate. (This is just my opinion though, I do think V4X is the best Miku for how well she lends herself to derivatives versus her other designs. Also, I think for the case of Mesmerizer, V4 Miku is probably the easiest to animate... Other Miku styles might not have worked for the MV's favor.)
One of the defining factors of the 2020s Vocaloid scene is AI vocalsynth. AI vocalsynth sounds more realistic and is often easier to use than its predecessors. Probably the first notable AI is CeVIO's KAFU, who received plenty of usage since her demos in 2020 and her release in 2021. As someone who owns KAFU myself, I think she's one of the most beginner-friendly vocalsynths – her autopitch tuning is rather pleasant and easy to work with as a baseline, and her configuration quality/ease of use just feels better than other vocalists on CeVIO AI. She also has a great capability for high range, much thanks to KAF's own high note capabilities. On top of that, she has quite the unique vocal tone that makes her instantly recognizable. I think these are all reasons why KAFU is highly popular.
To succeed KAFU, enter Kasane Teto, a beloved UTAU vocalist and character from the beginnings of the Vocaloid scene – now updated for Synthesizer V AI. She shares a lot of traits with KAFU that lend to success – ease of use, good vocal quality, and recognizable voice. Also, both KAFU and Teto SV have origins from a pre-existing fanbase – KAFU in KAF's popularity, and Teto from being a pre-existing popular character. Teto's SV was highly hyped and well-received, causing an explosion in her usages. Of course, UTAU isn't everyone's cup of tea and can be hard to use, and Teto had only been receiving rather niche usages in the 2020s Vocaloid scene – at least, up until her SV came and revitalized her.
In fanon, Miku and Teto have a popular relationship or dynamic, being friends or rivals. To use them both together in "Mesmerizer" builds upon this dynamic and establishes an appealing familiarity. In addition, "Mesmerizer" has a strong overseas reach outside of Japan – since Miku and Teto have high recognizability and popularity therein as well (and also thanks to Channel's preceding viral works.)
(Characters like Adachi Rei, Zundamon, and KAFU are also popular, but lack popularity outside of Japan.)
Although Synthesizer V is known for realism, many Japanese producers use it in a way that reflects "Vocaloid-esque" or artificial charm, which Teto embodies in "Mesmerizer." This makes her voice match up to Miku's more, creating a great duet that doesn't sound too jarring – rather, complementary.
Wrapping-up Thoughts
"Mesmerizer" is a song that, in my opinion, embodies a lot of the things that define the Vocaloid culture of the early 2020s. As someone who's always been an avid advocate and fan of the new Vocaloid scene, it's been amazing to see it come this far and reach greater heights, especially overseas. I remember being frustrated or mad that a lot of overseas Vocaloid fans don't actually listen to 2020s Vocaloid, despite it being highly popular in Japan. But with "Mesmerizer," I have hopes things will start to change. I have hopes that overseas fans will listen to the richness, diversity, and greatness of 2020s Vocaloid. I have hopes they will be drawn into the scene and look forward to new releases by new producers. I have hopes that "Mesmerizer" will ignite new creativity in producers and artists in the future to come, to build a new era; continually contributing to the idea of a "new soundscape." I believe "Mesmerizer" is the defining mark of this era of Vocaloid, and maybe might even become the top defining song in the footnotes of Vocaloid history.
okay did a listen through of it! also noticed some things in erica and karen i didn't notice before
so erica and karen seem to share a theme of killing the past, or killing a lover -- i feel like they're also grief/regret manifested in different ways. erica's grief/regret is more laid bare as sorrow, while karen's manifests as denial -- "cleanup;" trying to erase her own sins and the shadows of her past. (there are some ways this overall theme connects to isekaijoucho's "colors" album, i'd even consider it to be an alternate part of it? like there's 2 listening orders for nerine: erica - karen - nerine, and then nerine in the regular album order.
when it comes to nerine... it's quite sonically different from erica and karen, i don't have the lyrics transcript yet so i'm doing the best i can with my own ears >_< but overall it's more hopeful in tone, and still has similarities to erica/karen. can't give an analysis for nerine yet but i do like the listening order/experience!!!!!!!
i really love the expression of femininity in kamitsubaki's artists, it really resonates with me so much and it's just so dynamic and cool and detailed and not sexualized (if it is, it's 1) mostly koko/asu i think. and 2) mostly tasteful)
kaf especially being super popular and the way her character is presented visually is just so cool...
in my system we all like kamitsubaki for different but similar reasons but. uwaaaa kamitsubaki is just way cool with its portrayal of women & femininity and even with their sapphic/duet art it's so good..... waaaaaaaa (i've always loved the witch/isotope pairings but harujou is invading my mind recently. call awakened something in me with "haru ga kiite / kimi ga iru sekai" (with isekaijoucho and harusaruhi singing those lines respectively.... IT HITS WAAAAAAA))
anyways, don't mind me, i'm just trying to make sense of who i am really, i didn't get much time to do this because the last time i really connected in-depth with my own femininity was when we were uh. fucking 12? and then i changed from the host to the gatekeeper, and i wasn't concerned with outward expression of myself until now. like. i have several years of a self-discovery to catch up on in comparison to the others in my system FUCK
