this transition from his deep voice to his feminine voice is so tasteful
七月十九日は永遠に 歌ってみた－遊
宮下遊 miy_yuu / Official Channel
※本サイトに掲載されているチャンネル情報や動画情報はYouTube・Twitch公式のAPIおよびKickの公開情報を使って取得・表示しています。動画は各サービスの公式ページまたはプレイヤーで再生されます。
Timetable
動画タイムテーブル
動画数：85件
took me straight to Sudno, and the song even seems to be in the same beat lol
truly angelic
That high note is gorgeous
Bro i'm scared at the and (1)
Bro i'm scared at the and (2)
where to even begin with hitomania… disgustingly amazing song and miyashita yuu just brings this whole other level of experimental sickness to it. it’s short but insanely addictive. really gorgeous contrast almost immediately with the tipsy playful vocal jumps on ‘hitosama no’ and the electronicness of the following bits. the ending line ‘tsumuji sasu’ is mockingly delicate, and
‘aho no’ of next starting phrase is deep and sardonic. you can really hear the maretu cover voice come out in parts, like
‘aho no’,
‘koshinuke yo’. and the
‘naaaanda’ is just. god, hearing that for the first time had me grinning like an idiot because it is just SO out there and rough and indifferent and. such an indulgent flavor of miyashita yuu.
love the first chorus because up until now, he’s been playing around and goofing off. vocal jumping and singing airily and rasping and now he’s a little serious, cut the bs for a second. he assumes that haughty voice and he’s singing with this passion but it’s not an emotional discolure, vulnerable kind of passion. it’s determination? he has this specific voice where he sounds lighthearted but also threatening, and i think that’s what we hear in the first chorus.
the (tobitai) scratches my brain in the best way
was that Miyuu😭😭😭 ANYWAYS PEAK COVER AS ALWAYS❤️🔥
gorgeous contrast again with the cute innocent question-voice at to the
lazy drawl ‘kane de koroshite’. i really like that during meta-commentary tidbits, eg ‘polyester jobs are a no-go?’ miy_yuu very often approaches them with this like feigned innocence. we see it in parts of doctrine doctrine, i think. but he sings that line so naively, like a cute rookie asking a genuine question, but knowing that it’s miyashita yuu we know it’s actually all a front. and he rips off that cover immediately in ‘i’ll kill them all with money’. it really is like he has all these characters or fronts he cycles between, and the contrast of each being shoved in your face is really ugh addictive to listen to.
すまんｯｯネ゙゜！ ←好き
｢すまんね"ｯｯｯ｣←ねの潰れてる感好きです……なんでこの声が国宝にならないのですか。
すまんね。←いいよ、いいよ遊さんになら金でころされたっていい。そして"ね"えぐい好き。
ﾈ゛ｯ
but enough playing, the exhaustion of acting-- ‘human-pretending’, even-- is back in . he’s not really apologetic about deleting it, his 'keshita' isn’t in that naive voice from earlier, he really… doesn’t care, it sounds more like relief. the contrast between the cutesy
‘twitter’ to the really gorgeous and abrasive ‘hitomania’ is sooo good…. love the echo on his
‘shio wo ’, little nod to the echoey omnipotent voice we hear in the background of his blind faith meta covers like idolatry, kowloon hotel etc.
the naaaanda is back again except that rasp lingers into ‘omae’. it’s rough and it makes me as the pathetic hito-viewer feel a little ashamed of my pathetic hito-existence lol…. but can’t last too long because we get that really cool articulated ‘biba yokunai!’ and you can hear the delicate layer on top but the serious voice is still dominating. it’s close to the song end and we don’t have the leisure of playing games anymore. at
genuine goosebumps
, even though the naive → crude pattern in the first chorus happens again here, he’s more aggressive with the
‘kane de koroshite ai o kau ne.’ maybe he means it this time?
love how he almost spits out the tsumanne at , spitting out this apology. ‘we get those really satisfying pitch jumpiness we get in the following lines. and the last section entirely is just agh. so good. i'm taken aback by the
｢最⤴︎高だよ｣と｢ちい⤴︎さくなってく冠婚葬祭｣
‘ikiro/ you must live’ , has this interesting breath preceding it and he uses this exhaling almost inhuman voice. he uses that feigning innocence voice again at the death line, almost cute little meow on the ‘kutabara-nya’. great song….. all the voices are just insane
Nya button
くたばらにゃ←"にゃ"かわいい…！！！
「くたばらにゃ」の"にゃ"が猫みたいで可愛い！！！！！！！
多分刺されてるんですよ！
とか 1工夫が好きすぎる
愉しいね←聴いてて愉しすぎます。ここの声大好き。
本当に心の底から““愉悦””を感じて情緒狂う(好きすぎ)
- меня пробрало до мурашек
timestamp for reasons
みたいなMVに合わせた
ここ本当に妖美でめっちゃ好き
教祖様の顔ぐるぐるまわるとこ、遊さんの声も360度回転しててやばい恐怖
遊さんがぐるぐるしてる。聴いてて気持ち良すぎる。
ここの後頭部ら辺に聞こえるノイズ的な音、やっぱり原曲にねえ……サビに入る勢いが付いて原曲と違うこの歌い方ならではの良さが出てやがる軽くRemixしてません？自分の歌に合わせて。僕が気づいてなかっただけで毎度だったんすかね。
貧しいね←好き
やばい。世界感に合いすぎる。
fav part
ここの息遣い良い
あたりの舌打ち（？）みたいなやつかっこいい
ここのハモ心地良すぎる全体的にオケに負けないぐらい音が詰まってて、馴染みすぎて怖いぐらい。これ本当に幾らでも味するわ。何度聴いても新しい発見がある。
一瞬だけどココ好き
開幕からアンタ呼びたすかる
「馬鹿だった」のビリビリ感すこ
the more i listen to this song the more addicted i get and i just can't stop listening. when i first listened i was so shocked by this new and unfamiliar voice but i think any listener of miyashita yuu hears his entrance at and is immediately hit with the 'oh yeah, that's him.' he enters with so much strength and style and he has this firm but sarcastic tone that is just SO Miyashita Yuu. at
イヤホンだと右から低めの声が聞こえてくる
when he says 'no GA issou' the prominence of his 'ga' is so striking and snappy and he immediately contrasts that commanding masculine tone with the more feminine
'look around'. the chorus at
「逸らしてしまいたいわ」がMVも相まってフルフルして聞こえる
サビの盛り上がりが凄まじい、声のマッチ度合いが完璧すぎる耳が幸せ
本家以外でこの音圧の音作りできる歌い手存在しないだろ…
blends their voices so perfectly, they harmonize so well but there's a distinct Kihow and Miy_yuu that you discern in between breaths. i really love how at
боже какой же припев божественный...
「消えてくんないわ」の「わ」の部分が好きすぎる
Kihow holds onto the 'waa' slightly longer and there's this femininity to the 'wa' that contrasts the relatively masculine voice she opened with.
あたりからのビブラート改めてよく聞くとすごい…！
this entire part actually hits like crack in the 90s
gosto muito dessa parte
the muffled and silky voice miyashita yuu returns with at is insanely seductive but still patronizing, reflecting the meaning of the lyrics so well. (i highly reccomend viewers to read the translation while listening, because it provides so much insight into why certain tones are used during certain parts). the
宮下さんに「良い子ね」って言って貰えるのマ？？？
➥からの声の変わりようが冗談みたいなカッコ良さしてる無理
little vocal jump and sigh is, again, So Miyashita Yuu-- remniscent of his playful parts in A Mistaken Belief of Love etc.
「はぁ」👈（ありがとう）(好き)
「痛い!痛い!痛い!」の声好き
宮下さんならこの世の不条理全部自分のせいにされても良い
his transition from softly singing to building up momentum and letting it out, and splitting up the
「楽なのにな」で急に声変わるの反則すぎないだろうか
'na-Ha' instead of just one 'naa' is so characteristic of miy_yuu's syllable-playful style of singing. the chorus that follows is just. addictive. you can hear his voice more distinctly with kihow in the supporting, and he takes over at
omg this part is so good
然后的低音我飞了封面tetomiku也是帅爆了，，遊桑画风中的金典下眼皮点点发现 xP
MIYUU SCREAM IN MY EAR AND MY LIFE IS YOURS
ラスサビの音圧にずっと浸って先に進めない助けて
with this insane energy that just captivates you. i love how Miyashita Yuu has a sense of regality and richness even when he's totally belting like this. i think it's hard to maintain that tone in this kind of a chorus but you can hear at
His range will never fail to blow me away
めっちゃ「I miss you」が重なってて幸せイヤホン開発してくれた人ありがとう
when he says 'kyoushi', he deepens the 'ou' and 'i' to make more of a rich and tonal sounding 'kyouushii' that is just so much more impressive, because he can retain so much vocal control and manipulation even in a very unrestrained style line.
「消えてくんないわ」の「わ」が最高なんだってマジで
絵もお上手なのおかしくないですか＿＿＿＿
異化だけ匿う森と 幼い画布王の為 吸う独尊 狩る思と想名 破棄し 苦痛説いた師父と民 博愛 差異 雨 友よ白の発火 御声 目覚めさ雷と黒 午睡 戸惑い 苦楽断つ哀しみの詩 粧した乖離許す弧 実が成すまで
待ち惚け 不夜城に誘って集う 非公式な数多未知なる灯り寄る間に日が暮れて待ち倦ね 血迷い誘って募る 不等式のソナタ五線譜の上 相容れない不可思議に増す鼓動 揺らぐまま途切れずに証明し謳歌
(1)
2:19 but this melody 2:02 had me falling like an autumn leaf for him (4)
i'm so addicted to (1)
i'm so addicted to 2:03 2:20 sooo damn much (4)
「証明し謳歌」 歌い方好き…
不甲斐無さ 劣りも上手く描け 打開嘘と知る観測 ℃薄めた脳を塗布した意図 美しき花世 求め合い 最悪は見たさめざめECHO 勝つは狼煙暗くイド纏い 双六と地図 解確かめた 鵜呑みしなかったDEMA 砂噛み 擦るユリイカ
THIS IS PEAK
same zame 🥺
i love this part
〜 DEMA 砂 噛み 擦る ユリイカのとことか割とわかりやすい
I'm crying... this is so good.... thank u so much miy yuu for the cover and NILFRUITS for the original song....
2:14 yuu always delivers above and beyond for choruses with an emotional melody 0:41 2:19 but this melody 2:02 had me falling like an autumn leaf for him (2)
街外れ 裏通り彷徨って鎮む 自暴自棄は彼方意に染まぬ問い問う間に身焼かれて待ち焦がれた時もいつかは過ぎるのならば世を自然で観られる
as much as we love to praise miy_yuu's versatility and unexpectedness (as we should), i love it when there are certain voices that are so effective and that he's mastered so addictively, so he reuses them where they perfectly fit. you have no idea how hard i cheer whenever he does this elegant contained tone often for the quieter section before the explosive last chorus
had me falling like an autumn leaf for him
i'm so addicted to 2:19 i love how he sings the "ma" 0:43 2:03 2:20 sooo damn much (2)
i'm so addicted to 2:20 sooo damn much (5)
ここの「問う」と「間に」の間の一瞬の溜めがすごく好きなんです同志いませんか
の「問う間に」のアレンジ、めちゃ好き
待ち惚け 不夜城に誘って集う 非公式な数多未知なる灯り寄る間に日が暮れて待ち倦ね 血迷い誘って募る 等式のソナタ五線譜の上 相容れない不可思議に増す鼓動 揺らぐまま途切れずに証明し謳歌
yes another comment about the choruses because they're just so insanely good. i'm in love with the tone he uses, husky velvet rich and full of conviction. every note pulls at my heart, the way he sings the melody like emotional gravity
yuu always delivers above and beyond for choruses with an emotional melody
非「公」式のところがなってます？かっこよ…
よすぎる🤦♀️
but this melody
i love how he sings the "ma"
sooo damn much
こっちもド好き