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Chapter 496 - 359

Chapter 496: Chapter 359

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Wu Mu’s stage props are rarely used, but if the song "Night’s Seventh Chapter" doesn’t have an MV to accompany it, it loses a lot of its flavor.

The lyrics and MV tell a detective story. To cram a detective story into the lyrics, align it with the melody, and correspond it to original Sherlock Holmes stories is a testament to the strong lyric-writing skills.

There may be no MV, but a stage performance can simply substitute for it.

Of course, even without MV and stage props, it doesn’t greatly affect the quality of the song, because the lyrics are powerful. But in the past, it was ranked among the top songs by Jay Chou because the composition and arrangement were impressive enough.

Impressive to the point that such meticulous lyrics are just icing on the cake; the composition alone could astonish people.

After standing motionless on the stage for a few seconds, the dancer with a blue rose by his side began to move. One dancer first fell to the ground without moving, while the standing dancers began to perform their detective story with a meticulously choreographed dance.

For the first few seconds, there was no accompaniment, like watching a chaotic yet orderly mime, that textured little charm just came by.

Then the accompaniment started, a bright music box sound mixed with a string sound repeatedly playing the same notes.

"Oh?"

Liang Jun, who was sitting normally, slightly straightened up, "This breakdown of chords and the repetition of notes is a bit interesting."

Ordinary people listen to music just to hear the sound, to feel.

Professionals, however, can analyze the composer’s intentions and ideas through every note and melody.

Just like reading novels, a failing author’s first line might be "Parallel world Blue Star," whereas a master author’s first line would be "That day the sun set and never rose again."

It immediately lets you feel the difference in the style and skill of the book.

It’s the same in music, the choice of instrument for the opening, the opening melody; for those who live off music, it’s even more evident than reading amateur and masterful novels.

Wu Mu’s opening made an entrance like that of a master writer.

These intertwined melodies and notes subtly create a mysterious and eerie atmosphere.

After the opening music box sound and the faint, repeating string music, the cello gently joins in, with a synthesizer creating a typewriter sound. It’s like the curtain rises, and the rumbling thunder-like timpani for solving cases slowly approaches.

On stage, the band’s cellos switch to violins, violas repeat short sections, while the double bass plays the main theme variation, answering the violins...

In just ten seconds since the start, even before Wu Mu has started singing, already eight or nine instruments and sound effects are intertwined, moving forward together.

Below the stage, Zhang Xuezong and Yue Qinglan’s faces have already turned solemn.

Ordinary audience members couldn’t distinguish these specific professional elements, but the auditory experience they cause can be heard.

This song seems to have something?

The music box sound gradually fades, the accompaniment of the violin’s high notes lightly quivers, creating an uneasy atmosphere.

The synthesizer typewriter speeds up.

Drums, bass, piano play.

"1983 alley, clear December, Night’s Seventh Chapter, typewriter keeps pushing towards, the next line approaching the truth."

"The mist of the stone laurel pipe drifts towards the withered tree, silently confiding to me, the round plaza beside Baker Street, on the arm of the Armored Knight, the emblem of the iris, faintly glowing."

Wu Mu then starts singing.

The intense drum and bass have a strong rhythm.

"Rap?" Liang Jun was taken aback.

It’s not Wu Mu’s first time rapping; previously, in the Korean song "Luther" he sang had some rap elements too, but in Chinese rap, this is Wu Mu’s first.

"He’s really doing a lot right now." Wu Mu’s versatile musical style has always been a factor that Liang Jun looked favorably upon Wu Mu. Other singers might be proficient in just one style, but for him, he’s spent half a lifetime using idol ballad singing style.

But Wu Mu seems to have no limits, emerging with a new singing style from time to time.

Beside him, Yue Qinglan is more focused on the composition and arrangement of the song. She tilts her head slightly towards Liang Jun, but her eyes remain glued to the stage, unwilling to look away, "Did he write the composition and arrangement himself for this song?"

"Since mid-last year, he’s handled everything himself for all of his songs: lyrics, composition, arrangement, singing." Liang Jun didn’t dare to promise, but Wu Mu has been working in this way for more than half a year, so it makes no sense for this song to be different.

Yue Qinglan nodded but didn’t speak.

Beside them, Zhang Xuezong couldn’t hold back, "The composition and arrangement are amazing, with fifteen or sixteen instruments, plus his own vocals and backing vocals. I think I also heard a soprano vibrato, right? With so many elements packed in without any chaos, advancing layer by layer?"

This shows incredible skill.

Not to mention Wu Mu is still young, he feels even the big shots in the industry might not be able to write something so mature and spirited.

With Wu Mu’s new song, the most noticeable aspect is undeniably his composition and arrangement.

It’s like a thorn bursting out of the sack, impossible to contain.

While the most important aspect of a song, although what catches everyone’s attention at first are often the lyrics, if you ask professionals or listeners with some understanding about what is most important in a song, there will definitely be no second answer.