Roy released another new song. What style does this song belong to? How do you feel?

It can be said that Roy's album "Summer Night" once again broke through itself and adopted a rare new form. I'm not a music major and I'm not familiar with this field, but as a listener, these two songs of this album really touched me, feeling the grass in spring, the watermelon in summer, the fallen leaves in autumn and the heater in winter. Listening to his songs, I remembered the hot summer when I was a child, and the weather turned cold at night. Family, neighbors, neighbors are holding watermelons, carrying benches, holding fans, sitting under the tree, facing the stars and pulling them home. That feeling is hard for me to describe in my common vulgar language, so I sincerely invite you to listen. I won't let you down.

It's hard to forget this song after listening to it several times, and then you will sink into its melody from time to time even if you are not listening. This kind of music is music with super strong atmosphere. In fact, you don't need much help from plot and narrative to get the listener into similar emotions. Its appeal is not only because of words or songs, but also because of various elements, including arrangement, production, voice control and so on.

The last time I heard this kind of song was on the beach in Tao Zhe. I don't know why I think of that song. Even now, I have no sense of time. These two works are excellent in creating atmosphere. After listening to these two songs several times, I found that this kind of atmospheric songs are rare: the works need to fit perfectly with the singer's vocal characteristics; Tao Zhe's Bruce R&B voice has the feeling of gentle fluctuation of the sea; Brother Yuan's voice can be recognized as early as the last few albums "Quiet Starry Sky"; Therefore, these two works belong to the masterpieces of the right time and the right place.

According to Mv analysis, the fireflies and the Milky Way here are beautiful scenes, referring to beautiful things. They are always by our side, by our side and far away from us. We can see them and appreciate them, but that's all. We don't care about their beauty, we feel related to ourselves, and we don't think we can have it until "you" appears. The "you" here is transformed into a girl in the MV. But "you" can also refer to any beautiful things that have emotional connection with us, such as dreams, family, love and friendship ... When they appear in our lives, just like falling meteors, we realize the wonderful meaning and value of life, a kind of happiness that we can grasp. It's like a distant meteor falling for me. It's like ordinary life shining.

To sum up, this MV is narrated. Have you noticed that the two shots at the beginning and the end of the film are exactly the same: the shot of Yuan Shuai sitting by the window with a meteor lamp watching the starry sky shows that the story structure is reality-memory/parallel time and space-and the use of some props in reality is quite meaningful, such as mirrors, which are places that travel through time and space. The first person he saw here was a girl. After the girl disappeared, he tried to cross this place to find the girl. But failed, the picture of a person standing at one end of the mirror is really heartbreaking ... At the same time, a mirror in the middle of the vast grassland reflects the sky, suggesting the overlap of heaven and earth, which is the tunnel entrance parallel to time and space. The lens of Brother Yuan lying on the mirror finally seems to go to the sky reflected by the mirror, where he looks for the meteor that belongs to him.