Feature: What are your favourite things?

Après-guerre Reissue Vol.1
December 2015

 

Der Zibet celebrates its 30th anniversary this year. As the vocalist of the band, ISSAY’s presence is inimitable. With this issue’s theme surrounding our interviewees’ “favourite things”, we take a deep dive into his mind and catch a glimpse of a surprising side of him through conversation.

Der Zibet、KA.F.KA、ISSAY meets DOLLY

ISSAY

PROFILE
Active with Der Zibet,  KA.F.KA, ISSAY meets DOLLY among a wide variety of activities, ISSAY’s is ultimately a vocalist with an unwavering character whose presence radiates through his performances which incorporate pantomime and, of course, his singing.

INFORMATION 
ISSAY OFFICIAL H.P.: 
http://homepage2.nifty.com/issay/

Der Zibet OFFICIAL H.P.:
http://derzibet.com/

 

 

New album, Bessekai

―― Releasing an album this year, in the year of your 30th anniversary, did you take any special notice of things like milestones or turning points during production?

ISSAY (I): I think I’d be lying if I said no, but it’s not as if we paid all that much attention to it either. It was sometime around the end of last year when the band had drinks together while talking about the concept of the album. After that, we only decided on the album’s name after the start of this year. First came the concept, then came the name. And only afterwards did we start to put the music together.

―― Does it mean that everyone has the common idea of another world that isn’t the one we live in?

I: To start, when we were discussing the concept, we decided that we won’t do anything that would get classified as indie, or too niche, or anything like that. Der Zibet has always been a band that is said to be “too niche” to begin with anyway, but we’ve released a few albums since our reunion, and we’re of course satisfied with them, but we feel that we’ve producing them in a friendly manner. And thought, isn’t it about time that we made something that featured our quirks in the limelight? Those were the sentiments that came first. Once we had that down, we started thinking about what exactly were Der Zibet’s quirks, and things like MONDE MOVIE and MONDE FILM and MONDE MUSIC started coming to mind. Which led us to wondering, what’s the definition of MONDE in the first place? Cutting to the chase, it’s something like another world (bessekai / 別世界). As we started talking about how it seems to imply something that isn’t of this world but rather of another, we started to get the idea that Bessekai might be a good idea for an album title.

―― Hearing that gives me the impression that you’re only talking about going back to being “too niche” because this is for your 30th anniversary.

I: I don’t think the other band members feel this way, but for me, personally, I see our situation as a band from 1985, who made the type of music we did back then, thinking about what we want to create in the year 2015. Obviously, 30 years have passed, times have changed and even we have changed in our ways of working and all that, so all things considered, what are we going to do in 2015? What are we going to do now with the same underlying feelings that we had when we first started the band? That’s what I personally kept thinking about.

―― Apart from going in the niche or indie direction, does [this album] have any other tangible differences from your other recent works?

I: Rather than some strong, pointed intention to bring things towards this direction, we simply freed ourselves from our shackles. [Normally,] if I think that something might be difficult to grasp, I’d make small changes to it, right? So that’s something I decided to stop doing this time around. Even when we have [jam] sessions among ourselves as a band, we’d usually try our best to eliminate the thinking that certain parts of our music should be made more easily acceptable. No matter how niche we are, or how much people say we’re indie or whatever, we’re a band who’s attuned to pop, so no matter what, I think our melodies are pop-ish. That’s why we felt that it’s not possible for us to do anything ridiculously outlandish.

―― I also have the impression that as a band, Der Zibet is pop, but this album-

I: Is easy listening? (Lol)

―― -was somehow overwhelming to me from the second track onwards, when METRO was followed by Mr.Bad Trip and then Toki no Boumeisha (時の亡命者).

I: Because that’s the kind of flow we intended with the track order. If we wanted [the album] to sound like pop, we wouldn’t do this (dry laugh).

―― That’s true. So how do you feel about the work resulting from freeing yourself of the shackles of making yourselves easy to understand?

I: There’s quite a big difference when it comes to the lyrics. How do I explain this simply. Say, for example, there’s a second character in the lyrics. In previous albums, I think this second character would be given form and made visible. I’d write “you” and write it all down so the listener would know what kind of person this second character is. But this time, we completely ignored all of that. And we additionally also did our best to refrain from writing typical love songs. Love songs are easy to make sense of. Very easy. That’s what we wanted to rid ourselves of as much as possible. We just want to make the world we envision even more blatantly visible the way it is, you know? And, you can see it, can’t you? You just can’t help it (lol).

―― Because you show us the worlds that could be seen and felt with each song just as they are.

I: Exactly. That’s what it is in a nutshell. That’s why you can no longer describe it with the words ‘pop music’, right? But from each and every one of the songs, you can probably see different worlds in them. I think you’ll be able to see them clearly. But I don’t think there’s anything more to it than simply giving us a view of the worlds that the protagonist steps into. That’s the kind of work it is.

―― Going back to what you initially said about the concept, does this mean that MONDE MOVIE is one of the keys to this album?

I: No, not particularly. It’s just that when we were discussing Bessekai’s concept, the music that HIKARU presented was an instrumental piece. I thought it might be interesting to put lyrics to it, so I did that without anyone asking. That also happened to be the moment in time when I was trying to figure out what kind of lyrics I should write, so this ended up being the very first set of lyrics that I wrote for this album. And once this was done, I was easily able to compose the lyrics to the rest of the songs. For me, there’s this tunnel when I’m writing lyrics and if I don’t go through it, I won’t be able to write. The tunnel this time around wasn’t all that long, but I wrote the very first set of lyrics which were for MONDE MOVIE, without any thought at all and after that, it got easier and easier for me to write. It’s not that I want to do it all in this manner, but I just think it was a really good thing that this was how it started.

―― How did the recording go?

I: Smoothly. I used a hand mic to record my singing this time. I mentioned that there’s one mic that I really favour because I really like how it I sound recorded when I sing into it, and HIKARU said okay, sure. Then, let’s record with you singing into the the mic in your hand. It’s just so comfortable to sing with a hand mic, you know? The last time I sang into a hand mic was when we recorded our second album (dry laugh). Isn’t it nice to not have to worry about how and where you’re standing?

―― It’s the kind of album that makes me think of entering a world while you’re standing still and singing though.

I: Because there’s no song to sing unless I immerse myself in that world.

―― Not that. I was thinking of a more physical sort of world.

I: Like darkening the room? Personally, I generally do keep it darkened but not so much recently, I think. Because I want to make it relaxing, you know? If it’s set up ahead of time, I think it’ll just turn into something that makes my stomach hurt more. Anyway, I just didn’t want to be bothered by unnecessary things any more. I wanted to lose the tension in my shoulders. Does that make it easier to understand? Besides, don’t we use hand mics for live performances too anyway?

―― I just can’t imagine what kind of a live performance this album will yield. Although, I’d expect that there’s some form of live show unique to this album.

I: Well, it isn’t exactly an album with much leeway, is it?

―― Now that the album is complete and you’ve released it, do you think it’s turned out to be what you had imagined when you initially decided on the concept?

I: What we thought of in the beginning was in no way defined. It was something more ambiguous. That’s why it’d be wrong of me to say that we’ve created exactly what we envisioned. We are satisfied with how we executed it; the way it’s turned out with the kind of album name and concept it has. It’s a very experimental album for us from that perspective.

―― So you’re satisfied with the results of your experiment. What do you like about this fulfilling work of yours?

I: I guess I’m satisfied with the fact that it’s got quite a hefty presence as an album. I’m not talking about how it’d turn out in a live performance, but just the way it is as an album. I’m happy with it.

Going home

―― When you talk about going home, you’re referring to returning to your actual hometown where you grew up, right?

I: Literally what it generally means. I go back a few times a year. Although that includes occasions when I go back because I need to attend to something on this day and that day, regardless of my personal intentions.

―― Do you feel more relaxed or liberated when you go back?

I: I don’t. I think when I was about 27 or 28, before then, it felt like the city was telling me ‘Welcome home’ every time I got off the train and stood in the station. But after a certain point, it stopped saying that. It was then when I realised, “Ah, I don’t belong to this city anymore.”

―― What do you do when you go home?

I: I check.

―― Check what?

I: My own pain, for example. It’s a city where a river flows. When I go there, I can check on the pain that I felt from back then. Whatever the time, whether midnight or midday, I’d go to the beach and zone out while staring at the sea, and check on my past self who used to watch the sea like this too. I check and make sure that the person I was back then is still in this body of mine.

―― Is that because you want to stay the way you are?

I: Yeah.

―― I’m getting the impression that this is connected to your being a performer.

I: There’s no doubt that it is related. I need to drop by home, make my rounds and visit each key spot, and check how this sea looks to me at this point in time.

Rose garden

―― Do you like rose gardens?

I: I’ll go once or twice a year. Usually, I’d visit one in Tokyo.

―― I’m definitely very much into the idea of ISSAY-san with roses, but why rose gardens?

I: It’s fun, for some reason (smiles). It feels like I’m on a leisure trip. But I haven’t been able to see the spring or autumn roses. But when I was in Kamakura for business the other day, I went to the Kamakura Museum of Literature and there happened to be a rose garden there so I took photos (smiles).

―― Do roses mean something special to ISSAY-san?

I: That never crossed my mind. But don’t they make you feel, like “whoa” when they’re in full bloom? It makes me feel as if le spectre de la rose from that ballet might be in there somewhere. Like they inspire dreamy fantasies. Although, the same goes for cherry blossoms too. Because I feel a thrill in my blood when I go to places where cherry blossoms are blooming all over, you know? It’s embedded in Japanese DNA. I go cherry blossom viewing too.

―― You’re surprisingly fond of taking leisure trips.

I: I love them. I just don’t think of taking them often. I actually like man-made places and sights. Like places where buildings are all lined up together. I feel like the city is breathing when I see the buildings’ rooftop lights shine and flicker. I love it.

―― And in all of that, you just happen to adore roses.

I: Yes. I’d go and look at the sea. I adore roses. And cherry blossoms. Those are the kinds of things I love.

 

Roses in full bloom (Taken by ISSAY)
Roses in full bloom (Taken by ISSAY)

 

 

 

 

 

 

 

 

 

 

Translation: Yoshiyuki
Images: Yoshiyuki

 

 

1987.02.25 | SIXTY RECORDS
Electric Moon

Lyrics by ISSAY

Music & Arranged by DER ZIBET

Japanese

 

ペパーミントの香りの中で
僕を呼んでる声々
からっぽのガラスケースの中
何も入れずにしまう

別に悪気はない
別に好きでもない
別にどうでもいい
別に何でもいい

忘れさられる苦痛の中で
くるくる回るあなた
死んでしまった風景の前
あの娘(こ)はいつも泣いてる

まるできのうみたい
まるでテレビドラマ
まるでみなれた本
まるで かえるのファッションショウ

Lady Bitch 思い出して
Lady Bitch ふれさせて
Lady Bitch 忘れさせて
Lady Bitch 感じさせて Watch my body

オペラハウスは遠すぎるから
ピアノの前で歌う
ガラスのくつを探しまわり
血まみれの足ひきずる

別に悪気はない
別に好きでもない
別にどうでもいい
別に何でもいい

ペパーミントの香りの中で
僕を呼んでる声々
からっぽのガラスケースの中
何も入れずにしまう

まるできのうみたい
まるでテレビドラマ
まるでみなれた本
まるで あなたと In out In out

Lady Bitch 思い出して
Lady Bitch ふれさせて
Lady Bitch 忘れさせて
Lady Bitch 感じさせて Watch my body

Lady Bitch 思い出して
Lady Bitch ふれさせて
Lady Bitch 忘れさせて
Lady Bitch 感じさせて Suck my body

忘れさられる苦痛の中で
くるくる回るあなた
死んでしまった風景の前
あの娘はいつも泣いてる

まるできのうみたい
まるでテレビドラマ
まるでみなれた本
まるで あなたと

Romaji

By: Yoshiyuki

Pepaaminto no kaori no naka de
Boku wo yonderu koegoe
Karappo no garasu keesu no naka
Nani mo irezu ni shimau

Betsu ni warugi wa nai
Betsu ni suki de mo nai
Betsu ni dou de mo ii
Betsu ni nande mo ii

Wasure sarareru kutsuu no naka de
Kuru kuru mawaru anata
Shinde shimatta fuukei no mae
Ano ko wa itsumo naiteru

Maru de kinou mitai
Maru de terebi dorama
Maru de minareta hon
Maru de kaeru no fasshon shou

Lady Bitch Omoi dashite
Lady Bitch Fure sasete
Lady Bitch Wasure sasete
Lady Bitch Kanjisasete Watch my body

Opera hausu wa toosugiru kara
Piano no mae de utau
Garasu no kutsu wo sagashi mawari
Chi mamire no ashi hikizuru

Betsu ni warugi wa nai
Betsu ni suki de mo nai
Betsu ni dou de mo ii
Betsu ni nande mo ii

Pepaaminto no kaori no naka de
Boku wo yonderu koegoe
Karappo no garasu keesu no naka
Nani mo irezu ni shimau

Maru de kinou mitai
Maru de terebi dorama
Maru de minareta hon
Maru de anata to In out In out

Lady Bitch Omoi dashite
Lady Bitch Fure sasete
Lady Bitch Wasure sasete
Lady Bitch Kanjisasete Watch my body

Lady Bitch Omoi dashite
Lady Bitch Fure sasete
Lady Bitch Wasure sasete
Lady Bitch Kanjisasete Suck my body

Wasure sarareru kutsuu no naka de
Kuru kuru mawaru anata
Shinde shimatta fuukei no mae
Ano ko wa itsumo naiteru

Maru de kinou mitai
Maru de terebi dorama
Maru de minareta hon
Maru de anata to

English

By: Yoshiyuki

In the fragrance of peppermint
Voices calling me
In an empty glass case
With nothing in it

Whatever, no offense taken
Whatever, I don’t even like you
Whatever, I don’t care
Whatever, it doesn’t matter

In the pain of being forgotten
You spin round and around
Before a dead landscape
That girl is always crying

As it it were yesterday
As if it’s a TV drama
As if it’s a familiar book
As if it’s a fashion show by a frog

Lady Bitch Remember me
Lady Bitch Let me touch
Lady Bitch Let me forget
Lady Bitch Let me feel Watch my body

The opera house is too far away so
I sing before the piano
Hunting around for a glass slipper
Limping around with bloody feet

Whatever, no offense taken
Whatever, I don’t even like you
Whatever, I don’t care
Whatever, it doesn’t matter

In the fragrance of peppermint
Voices calling me
In an empty glass case
With nothing in it

As it it were yesterday
As if it’s a TV drama
As if it’s a familiar book
As if I’m with you going In out, In out

Lady Bitch Remember me
Lady Bitch Let me touch
Lady Bitch Let me forget
Lady Bitch Let me feel Watch my body

Lady Bitch Remember me
Lady Bitch Let me touch
Lady Bitch Let me forget
Lady Bitch Let me feel Suck my body

In the pain of being forgotten
You spin round and around
Before a dead landscape
That girl is always crying

As it it were yesterday
As if it’s a TV drama
As if it’s a familiar book
As if I’m with you

 

 

Notes:

The italicised lyrics are essentially not present in the booklets, but what was picked up by ear instead. Do note that there may be errors present in them.

1987.02.25 | SIXTY RECORDS
Electric Moon

Space Glider

Lyrics by ISSAY

Music & Arranged by DER ZIBET

Japanese

 

僕達いつも体をふれてたい
特に深くは考えない
銀色の月あんたの髪みたい
別にスタイルは関係ない

眠ってる血液 バラ色にしたい
咲き乱れてる花 Chinese peach pie
このままどこまでも浮び続けたい
知ってるはずさ がまんしたくない

狂いだす前に 体をまかせたい
All right 今宵は Flying Flying Night
僕達ステキ 笑いがたえてない
星さ 僕達 twinkle of night

ふりしぼる体は tight tight
宇宙人みたいな会話 up to date
すぐさまに僕達 外にとび出たい
知ってるはずさ がまんしたくない

僕はスペースグライダー 遠く飛んで
星に手をふれてみたい
僕はスペースグライダー はるか飛んで
あんた達をさらいだす

僕達いつも体をふれてたい
特に深くは考えない
銀色の月あんたの髪みたい
別にスタイルは関係ない

眠ってる血液 バラ色にしたい
咲き乱れてる花 Chinese peach pie
このままどこまでも浮び続けたい
知ってるはずさ がまんしたくない

僕はスペースグライダー 遠く飛んで
星に手をふれてみたい
僕はスペースグライダー はるか飛んで
あんた達をさらいだす Hey

ふりしぼる体は tight tight
宇宙人みたいな会話 up to date
すぐさまに僕達 外にとび出たい
知ってるはずさ がまんしたくない

僕はスペースグライダー 遠く飛んで
星に手をふれてみたい
僕はスペースグライダー 高く飛んで
真夜中にぬれていたい

僕はスペースグライダー 遠く飛んで
星に手をふれてみたい
僕はスペースグライダー はるか飛んで
あんた達をさらいだす

Romaji

By: Yoshiyuki

Bokutachi itsumo karada wo furetetai
Toku ni fukaku wa kangaenai
Gin iro no tsuki anta no kami mitai
Betsu ni sutairu wa kankei nai

Nemutteru ketsu eki bara iro ni shitai
Saki midareteru hana Chinese peach pie
Kono mama doko made mo ukabi tsudzuketai
Shitteru hazu sa Gaman shitakunai

Kurui dasu mae ni karada wo makasetai
All right Koyoi wa Flying Flying Night
Bokutachi suteki warai ga taetenai
Hoshi sa Bokutachi twinkle of night

Furishiboru karada wa tight tight
Uchuujin mitai na kaiwa up to date
Sugu sama ni bokutachi soto ni tobidetai
Shitteru hazu sa Gaman shitakunai

Boku wa supeesu guraidaa Tooku tonde
Hoshi ni te wo furete mitai
Boku wa supeesu guraidaa Haruka tonde
Antatachi wo saraidasu

Bokutachi itsumo karada wo furetetai
Toku ni fukaku wa kangaenai
Gin iro no tsuki anta no kami mitai
Betsu ni sutairu wa kankei nai

Nemutteru ketsu eki bara iro ni shitai
Saki midareteru hana Chinese peach pie
Kono mama doko made mo ukabi tsudzuketai
Shitteru hazu sa Gaman shitakunai

Boku wa supeesu guraidaa Tooku tonde
Hoshi ni te wo furete mitai
Boku wa supeesu guraidaa Haruka tonde
Antatachi wo saraidasu Hey

Furishiboru karada wa tight tight
Uchuujin mitai na kaiwa up to date
Sugu sama ni bokutachi soto ni tobidetai
Shitteru hazu sa Gaman shitakunai

Boku wa supeesu guraidaa Tooku tonde
Hoshi ni te wo furete mitai
Boku wa supeesu guraidaa Takaku tonde
Mayonaka ni nureteitai

Boku wa supeesu guraidaa Tooku tonde
Hoshi ni te wo furete mitai
Boku wa supeesu guraidaa Haruka tonde
Antatachi wo saraidasu

English

By: Yoshiyuki

We always want physical contact
Don’t think too much about it
The silver moon looks like your hair
Not that it’s got anything to do with style

Sleeping lifeblood I want to paint it rosy
Flowers in abundant bloom Chinese peach pie
I want to stay like this and keep floating into infinity
I’m sure you get it I don’t wanna hold back

Before I go crazy I want you to take care of my body
All right Tonight it’s Flying Flying Night
We’re resplendent The laughter never ends
Y’see, the stars We are twinkle of night

This body squeezed to its limits is tight tight
Alien-like conversations are up to date
Right away we want to bolt out the door
I’m sure you get it I don’t wanna hold back

I am a space glider Flying far away
I want to touch the stars
I am a space glider Flying into the distance
Carrying all of you away

We always want physical contact
Don’t think too much about it
The silver moon looks like your hair
Not that it’s got anything to do with style

Sleeping lifeblood I want to paint it rosy
Flowers in abundant bloom Chinese peach pie
I want to stay like this and keep floating into infinity
I’m sure you get it I don’t wanna hold back

I am a space glider Flying far away
I want to touch the stars
I am a space glider Flying into the distance
Carrying all of you away Hey

This body squeezed to its limits is tight tight
Alien-like conversations are up to date
Right away we want to bolt out the door
I’m sure you get it I don’t wanna hold back

I am a space glider Flying far away
I want to touch the stars
I am a space glider Flying up high
I want to get wet in the middle of the night

I am a space glider Flying far away
I want to touch the stars
I am a space glider Flying into the distance
Carrying all of you away

 

 

Notes:

The italicised lyrics are essentially not present in the booklets, but what was picked up by ear instead. Do note that there may be errors present in them.

2013.12.25 | POP MANIA LABEL
NINE STORIES

Words by ISSAY

Music by DER ZIBET

Japanese

 

枯れ葉はふるえて 風はつぶやく
疲れた二人は 夜空見上げた
とりとめもなく時間は
エーテルのようにこぼれ落ちてく

  もう一度だけ 君を抱きしめたいよ

夢を忘れ、声を忘れ、時は戻せない
僕達は無力だね
春が過ぎて、夏が過ぎて、秋が終わる
何事もなかったかのように

記憶のカケラと ピアノのメロディー
とまどう二人は コトバをなくす
答えのない問いかけに
振り回され続けていたね

  ただ一度だけ 時間を止めておくれ

夢を忘れ、歌を忘れ、時は戻せない
やみくもに生きるだけ
春が過ぎて、夏が過ぎて、秋が終わる
僕達を置き去りにしたまま

  もう一度だけ 心開いておくれ

夢を忘れ、声を忘れ、時は戻せない
僕達は無力だね
春が過ぎて、夏が過ぎて、秋が終わる
何事もなかったかのように

Romaji

By: Andy

Kareha wa furuete Kaze wa tsubuyaku
Tsukareta futari wa Yozora miageta
Toritome mo naku jikan wa
Eeteru no you ni kobore ochiteku

  Mou ichido dake Kimi wo dakishimetai yo

Yume wo wasure, Koe wo wasure, Toki wa modosenai
Boku tachi wa muryoku da ne
Haru ga sugite, Natsu ga sugite, Aki ga owaru
Nanigoto mo nakatta ka no you ni

Kioku no kakera to Piano no merodii
Tomadou futari wa Kotoba wo nakusu
Kotae no nai toikake ni
Furi mawasare tsudzukete ita ne

  Tada ichido dake Jikan wo tomete okure

Yume wo wasure, Uta wo wasure, Toki wo modosenai
Yamikumo ni ikiru dake
Haru ga sugite, Natsu ga suite, Aki ga owaru
Boku tachi wo okizari ni shita mama

  Mou ichido dake  Kokoro hirate okure

Yume wo wasure, Koe wo wasure, Toki wa modosenai
Boku tachi wa muryoku da ne
Haru ga sugite, Natsu ga sugite, Aki ga owaru
Nanigoto mo nakatta ka no you ni

English

 

2013.12.25 | POP MANIA LABEL
NINE STORIES

Words by ISSAY

Music by Hikaru

Japanese

 

枕元に漂うビロードの宇宙
星座達は唄うよギリシャの廃墟を
窓にさし込む星明かりは
2100光年の哀しみたたえていたのさ

I wish you were here 君に会いたい
I wish to be with you 君と生きたい

君のベテルギウスはシリウス見つめ
僕のつぶやき声は銀河にはねかえる
夢の化石は砂に埋もれ
2100光年の孤独にふるえていたのさ

I wish you were here 君に会いたい
I wish to be with you 君と生きたい

I wish you were here Night Flight of my soul
I wish to be with you Night Flight of my soul
I wish you were here Night Flight of my soul
I wish to be with you Night Flight of my soul

I wish you were here 君に会いたい
I wish to be with you 君と生きたい

Romaji

By: Andy

Makura moto ni tadayou biroodo no uchuu
Seiza tachi wa utau yo girisha no haikyo wo
Mado ni sashi komu hoshi akari wa
Nisenhyaku kounen no kanashimi tataete ita no sa

I wish you were here Kimi ni aitai
I wish to be with you Kimi to ikitai

Kimi no beterugiusu wa shiriusu mitsume
Boku no tsubuyakigoe wa ginga ni hane kaeru
Yume no kaseki wa suna ni umore
Nisenhyaku kounen no kodoku ni furuete ita no sa

I wish you were here Kimi ni aitai
I wish to be with you Kimi to ikitai

I wish you were here Night Flight of my soul
I wish to be with you Night Flight of my soul
I wish you were here Night Flight of my soul
I wish to be with you Night Flight of my soul

I wish you were here Kimi ni aitai
I wish to be with you Kimi to ikitai

English

 

2013.12.25 | POP MANIA LABEL
NINE STORIES

Words by ISSAY

Music by Hikaru

Japanese

 

どこに行くんだい? 星がつもる
鉛色の真夜中に

何が欲しい? うつろな目で
一人きりで空見上げて

痛みだけがリアルに感じて
そっと心閉ざす
生きてる証が欲しいだけだと
つぶやいているね

叫べ炎のように
濡れた心のSTRANGER

何を見てる? 心の底か?
ガラスのようなその瞳で

独りよがりの歌が聴こえる
君は耳をふさぐ
愛を失い嘆く世界では
名もないよそ者

踊れ全て忘れ
帰る場所なきSTRANGER

夜の終わりを見届けに行こう
影法師をつれて
もっとずっと遠くへ思いをはせて
時を超えるのさ

叫べ炎のように 濡れた心のSTRANGER
踊れ全て忘れ 帰る場所なきSTRANGER
熱く…祈れ…

Romaji

By: Andy

Doko ni ikundai? Hoshi ga tsumoru
Namari iro no mayonaka ni

Nani ga hoshii? Utsuro na me de
Hitori kiri de sora miagete

Itami dake ga riaru ni kanjite
Sotto kokoro tozasu
Ikiteru akashi ga hoshii dake da to
Tsubuyaite iru ne

Sakebe honoo no you ni
Nureta kokoro no STRANGER

Nani wo miteru? Kokoro no soko ka?
Garasu no you na sono hitomi de

Hitori yogari no uta ga kikoeru
Kimi wa mimi wo fusagu
Ai wo ushinai nageku sekai de wa
Na mo nai yosomono

Odore subete wasure
Kaeru basho naki STRANGER

Yoru no owari wo mitodoke ni ikou
Kageboushi wo tsurete
Motto zutto tooku e omoi wo hasete
Toki wo koeru no sa

Sakebe honoo no you ni Nureta kokoro no STRANGER
Odore subete wasure Kaeru basho naki STRANGER
Atsuku…Inore…

 

 

English

 

SNIPER IN ‘88

Pati-Pati Rock ‘n’ Roll
March 1988

Photos by Sashi Motoko (佐志素子)
Text by Editorial department

 

The first time I came into contact with their concerts was in a live house in Shinjuku. On behalf of rock magazines, I’ve been to a few live houses but watching children being absorbed in their “kids’ meal” level of inferiority left me, in all honesty, sick of it.

On this night, the venue was packed with girls dressed up in black outfits. And for some reason, the live house was filled with an overwhelmingly charged atmosphere. On this night, DER ZIBET put on a show so manic and savage that it was more than plenty; that shook me to my core. In terms of the show itself, I did get a sense of inexperience from the structural problems and issues with the live house but in an instant, I understood what they were trying to do, and I found myself believing in them. These guys were serious, although they were also testy with impatience. 

“YOU MEET THE ROCK PARTY” is a project where we introduce rock bands we’ve selected to the readers of Pati-Pati Rock ‘n’ Roll. And kicking things off as our first band, we have DER ZIBET. We wanted to share with as many people as possible the joy and the fever that everyone gets to experience at their concerts that exemplify the “wild and danceable”. This interview with them was held after their two hall shows at Osaka’s Banana Hall and Nagoya’s HeartLand.

 

 

―― First, let’s hear about what you think of “YOU MEET THE ROCK PARTY”.

Hikaru (H): It was fun. This is just the first event but I think this is something that [people] can look forward to in future too. But I got the feeling that our reputation hasn’t quite built up yet. First-timers at our show were also starting to enjoy themselves in the second half, weren’t they? 

Issei (I): To perform an actual concert of what’s so far been spreading in print and then having the magazine make us known all over the country, it’s [a] groundbreaking [project], isn’t it? It always feels like this when DER ZIBET performs at a place we’ve never been to before. Although we’ve performed at this venue many times before, there were probably a lot of people who were seeing us for the first time, right? I was glad to see them gradually start dancing despite the case. Because things never turn out the way we expect it to.

HAL (HA): The audience weren’t our fans but a recon team, or something… They’re like people who’re here to see what kind of band we are.

Mayumi (M): It’s an honour to be the first (lol). I think this magazine has been satisfying the hearts of the audience these days (lol), so yeah, maybe it’s a good thing to bring on a little more party atmosphere.

―― Hey, wasn’t there a video? (Before the show started, a film was being screened by 4 projectors onto walls and such. Captured in it were things that each band member liked) Tell us about what you picked for that and why.

I: So, for me, my house is full of junk, y’know. I just can’t get myself to throw all these things and they pile up so much that I don’t even have space to sleep. [The things I picked for the video are] the things I see most often within that pile. A broken alarm clock. A music box. A book. A Lindsay Kemp¹ photobook. Things like that.

H: I focused on what’s in my bag. Like my driving license, my wallet, an ero-guro picture from the early Showa period.

HA: Boots, hat, beard, a Chinese doll from China atop my bass guitar. The cover of a Mingus² album. At the very end, my eye appears…… This is meant to represent an “eyeball”.

M: Ingenious (lol). As to what I chose, you know how in university there’s a library and a research lab, right? I borrowed a whole variety of books for the purpose of research and just like that, I dropped out (lol). So, those are fancy books that can never be bought with pocket change. Books about music, the arts, theatre, and so on. I picked a few out of them [for the video]. Aside from those, there’s also a Dalí³ brochure a fan gave me and things like that.

―― All your strange hobbies are being shown (lol). Right, so you’re releasing your LP soon but will your live concerts change after it’s out?

H: Yeah. Now that we’ve got this far, it feels like we can go anywhere. We’re not leaving anything behind, and besides, from this album on, we’ve included elements that make people feel and want to listen to our music in a way that’s different than before. Our live shows will probably end up with a mixed [format]…… Not only will it have a strong groove, but the flow on the whole also won’t change too, something like that.

I: I think the scale [of our shows] will grow bigger. Until now, our shows have been structured to make people go to their limits. You could say that our shows are like an hour’s sprint at full speed…… But this time, I think we’ll have a kind of tempo.

H: You know, in the past, we split [our shows] into two portions, and for the first, the audience can’t stand. We’d insist that they sit. …… Then suddenly we’d come out with oil lamps in our hands (rofl).

M: Sounds stupid, doesn’t it?

HA: We even had a street lamp erected on stage.

M: Wasn’t that around the same period? Next to the street lamp was the oil lamp, right? We did that a lot. But it wasn’t a bad thing. It’s just that, I guess it was embarrassing or something (lol).

―― Did you do that too after your debut?

I: We did at Kudan Kaikan, didn’t we? The [audience’s] reaction, wasn’t all that great (lol).

M: We did so many different things that I get exhausted thinking about it. I guess it’s sad, because we can’t get to the next level if we don’t do all this.

I: We were seriously theatrical. Yes, so theatrical that it’s nauseating. Maybe that’s the kind of nuance that comes through.

M: I think we can do it if we look at it as a form of entertainment. We’ve matured a little more now too……

HA: I want to make something like the progressive music that’s come after new wave.

―― That’ll leave an impression. In a past interview, you’ve said that what you want to do is more like a “tear [your shirt] buttons off” rather than a “undo [your shirt] buttons”.

HA: I guess in comparison, this time, we’re asking people to go off the beaten track, something like that.

 

I: Won’t putting it into words narrow [the possibilities] down? But well, yes, it’s like a state of nothingness. Or a state where there’s nothing but yourself. There are many ways to get there, and rock happens to have the essential element of aggression. Steadily stripping things down…… I guess you could say that even we are facing our true selves when we perform…… It’d be wonderful if we could turn our shows into spaces where everyone listening could do the same, don’t you think?
A while ago, I went to look at paintings…… You know, while I was viewing the art, I felt something that brought me to the verge of tears for the first time. That, in the end, is seeing the artist who drew it, right? And I could also see myself looking at it. It’s the most basic thing of all. Being able to see yourself as a human being.

―― Stripped down to the bare essentials, right?

I: The trouble with performing live is when people start to think, you know. I feel that it’s not about the words saying this or that. Rather, it should be [a sense of] “Ah, I get this.” If each and every person would feel like that, wouldn’t that be great?

―― So it’s not about persuading them.

I: When you listen to rock, [the most important thing is] that sensation of the very first thing you felt, right? That feeling of being forced to strip naked. The way it’s so unexpected. Making you wonder how it got you like this. That’s the one powerful thing rock music has. Rather than persuading you, it strips you naked and leaves you outside. That’s why, it makes you feel what you want to do instead of making you think about it.

―― You know, these days, pop songs that have always been so popular are now on the decline. Recently, I read the data that an advertising agency released and there’s one part in it that said we’re moving from the era of expressing “something similar to the heart” to expressing “the heart itself”. It has to be real if it’s going to work. How composed are you? How serious are you? There’s a stereotype, and people are no longer looking at the sweet. That’s the kind of era it’s going to be. Isn’t it amazing? Well, you could of course say it’s no surprise. That’s just the conclusion this advertising agency came to after studying the trends.

M: We want to become the leaders in that sense, though. For the kids 40 years in the future to be good people and follow the rules and keep their acts together…… Spiritually speaking, everyone ends up the same in the end, right? But the truth is that every single person is different. Although no two people are alike, we’re all really one human race. So to what extent can we express ourselves?   Socially speaking, it’s not accepted much, is it? But with music, we’re free. I think more and more people are starting to feel that way. [With music,] we can show ourselves off in a civil manner, not physically or violently. This way, it’s peaceful, we’re making music, right? For us, we were born in the mid-1950s, so I think we’re the first generation to realise what the younger generation thinks these days. Those older than us don’t really matter. Because they can do whatever they like and they’ll die first. It’s the younger generation.

I: They somehow believe things too carelessly, don’t they?

HA: But, you know, haven’t we always been cynical ever since we were kids? Then we’d brush it all off as a joke…… Come to think of it, that makes it difficult to tell what’s actually real.

I: You can’t really tell who’s friend or foe.

H: Because words like “That’s rank” and “Tragic” and all that were always on our lips. If something’s really moving to you, you’d say it’s rank⁴. Now we’re past that, right? We don’t use these words so lightly now. It’s exaggerated, right?

M: I guess it’s like the old days.

I: We just hope that the era where people are convinced they’re safe would end. From the perspective that everyone should take things seriously, you know?

H: But that we think that we can do that through music and lyrics. We want to think about it, but we don’t want to put it out there directly.

M: Because doing that is authoritarian⁵, right……

I: Ultimately, just one field is enough……⁶

―― Have you decided on the title of your LP?

I: DER ZIBET.

―― That’s straightforward. Why?

I: To say that this is “DER ZIBET”.

H: We could’ve come up with a one-word title or something, but we feel that there are still many people who don’t know us so…… We figured that this would be the most straightforward way to get that across.

M: This is our company (lol).

HA: With a capital C.

―― What does DER ZIBET mean though?

H: What it means is, well, the word “ZIBET” is what the civet cat is called in both English⁷ and German, but the “DER” that comes before it is a definite article in German that has been altered to an English reading. Germans wouldn’t know this word (lol).

―― So what about the single you’re releasing on 21 March?

I: It’s Only “You”, Only “Love”.

―― Why did you choose to make this the first cut?

I: Because it’s got good energy (lol). We really hope people will listen to it.

 

 

DER ZIBET is a band that has now just started to have a voice. Because they have finally broken out of their societal situation; of being too manic an artist. And also, because their self-titled album DER ZIBET will also be released on 21 March. The experimental approach that they have taken so far will probably continue in future too. But this attitude of ensuring satisfaction before moving on is, I believe, also one of the purest forms of rock ‘n’ roll history. I hope they will keep rocking forever with this purity. And also, that their live shows and albums will knock us clean out.

 

 

 

 

Notes:

¹ Lindsay Keith Kemp was a British dancer, actor, teacher, mime artist, and choreographer. He was probably best known for his 1974 flagship production of Flowers, a mime and music show based on Jean Genet’s novel Our Lady of the Flowers, in which he played the lead role of ‘Divine’. Owing to its homosexual themes and perceived decadence, reviews were sometimes hostile, but it was widely considered a theatrical and sensory sensation, and it toured globally for many years. He was also a mentor to David Bowie and Kate Bush.

² As in Charles Mingus, an American jazz double bassist, pianist, composer, and bandleader. A major proponent of collective improvisation, he is considered to be one of the greatest jazz musicians and composers in history, with a career spanning three decades and collaborations with other jazz musicians such as Louis Armstrong, Duke Ellington, Charlie Parker, Dizzy Gillespie, and Herbie Hancock.

³ Salvador Dalí.

⁴ The original word here is クサイ (kusai) which is normally a descriptor for something that smells, or just to say that something stinks. But in this context, they’re obviously referring to some old slang interpretation of クサイ which no longer exists. I can’t think of any similar sort of slang/trend phrase in English, so I picked the rather questionable option of “rank”.

⁵ The word Mayumi used was “fascism (ファシズム)”. I didn’t use that direct translation because the implied meaning of it has probably evolved over the years to possess different connotations than it probably did back in the late 80s.

⁶ I don’t really know what he’s referring to but here’s the original text for your consideration:
あくまで、ひとつのフィー ルドでいいと……

⁷ Since this is an English translation, we know that’s not true lol. I believe he’s definitely talking about the word “Civet” but is just a little mixed up with the pronunciation of it.

 

 

 

Translation: Yoshiyuki
Scans: morgianasama on LJ

2013.12.25 | POP MANIA LABEL
NINE STORIES

Words by ISSAY

Music by HAL

Japanese

 

真っ赤なアンブレラ  闇に咲いた
蒼ざめた夜を  染めておくれ

滴るサングリア  胸に浴びて
デリバリーの愛を  待ちわびるのかい?

イカれたシャングリラ  探し回り
穢れた心を  浄めてやれ

壊れたシャンデリア  水晶の空
散り散りの星を  並べかえよう

 もしも僕が風になれたら
君を連れて飛び去ろう

Cry for love, Fly with me Radio 越しの真夜中
Cry for love, Stay with me 君をはなさない
Cry for love, Fly with me 孤独な君に歌おう
Cry for love, Stay with me
世界の果てから愛を込めて

 もしも君の夢で会えたら
涙拭い抱きしめたい

Cry for love, Fly with me 君の痛みが欲しい
Cry for love, Stay with me 二度とはなさない
Cry for love, Fly with me 孤独な君と踊ろう
Cry for love, Stay with me
世界の果てから愛を込めて

Romaji

By: Andy

Makka na anburera  Yami ni saita
Aozameta yoru wo  Somete okure

Shitataru sanguria  Mune ni abite
Deribarii no ai wo  Machi wabiru no kai?

Ikareta shanguri ra  Sagashi mawari
Kegareta kokoro wo  Kiyomete yare

Kowareta shanderia  Suishou no sora
Chirijiri no hoshi wo  Narabe kaeyou

 Moshi mo boku ga kaze ni naretara
Kimi wo tsurete tobisarou

Cry for love, Fly with me Radio goshi no mayonaka
Cry for love, Stay with me Kimi wo hanasanai
Cry for love, Fly with me Kodoku na kimi ni utaou
Cry for love, Stay with me
Sekai no hate kara ai wo komete

 Moshi mo kimi no yume de aetara
Namida nugui dakishimetai

Cry for love, Fly with me Kimi no itami ga hoshii
Cry for love, Stay with me Nidoto hanasanai
Cry for love, Fly with me Kodoku na kimi to odorou
Cry for love, Stay with me
Sekai no hate kara ai wo komete

 

English

 

2013.12.25 | POP MANIA LABEL
NINE STORIES

2020.11.11 | POP MANIA LABEL
21 世紀

Words by ISSAY

Music by Hikaru

Japanese

 

星淡く蒼く遠く光り
さあ、今宵も又幕が上がる

時間の舞台の上で主役よろしく歩きましょうか
いかさまな歩幅で

月満ちて欠けて朽ちて落ちる
そうさ、誰も彼もやがて消える

ワインのグラス傾けカサノヴァ気取り口説きましょうか
さかしまな台詞で

C’est la vie 出来の悪いコメディー
乾杯さ 幕が降りる時まで
C’est la vie ありふれてるトラジェディー
踊り明かそう どうぞお気のすむまで

夢熱く燃えてとけて醒める
そうさ、何もかもが目覚め浮かぶ

希望と絶望の狭間ロープの上でおどけましょうか
よこしまな心で

C’est la vie 出来の悪いコメディー
乾杯さ 幕が降りる時まで
C’est la vie ありふれてるトラジェディー
踊り明かそう どうぞお気のすむまで

Romaji

By: Andy

Hoshi awaku aoku tooku hikari
Saa, Koyoi mo mata maku ga agaru

Jikan no butai no ue de shuyaku yoroshiku arukimashou ka
Ikasama na hohaba de

Tsuki michite kakete kuchite ochiru
Sou sa, Dare mo kare mo yagate kieru

Wain no gurasu katamuke kasanova kidori kudokimashou ka
Sakashima na serifu de

C’est la vie Deki no warui komedii
Kanpai sa Maku ga oriru toki made
C’est la vie Arifureteru torajedii
Odori akasou Douzo oki no sumu made

Yume atsuku moete tokete sameru
Sou sa, Nani mo ka mo ga mezame ukabu

Kibou to zetsubou no hazama roopu no ue de odokemashou ka
Yokoshima na kokoro de

C’est la vie Deki no warui komedii
Kanpai sa Maku ga oriru toki made
C’est la vie Arifureteru torajedii
Odori akasou Douzo oki no sumu made

 

English

 

2013.12.25 | POP MANIA LABEL
NINE STORIES

2020.11.11 | POP MANIA LABEL
21 世紀

Words by ISSAY

Music by Hikaru

Japanese

 

猥褻な夢の中 恥知らずに踊ろう
ノイズのハーモニーで
夜を誘え

劇薬のような恋 一息に飲み干そう
宝石のような今
おまえがいればいい

 癒されない傷口
重ね合わせるのさ

星影淫らに  欲望のダンス

蒼白い首筋に 滴る赤いワイン
舌先で拭ったら 睫毛が揺れてた

汚れてゆく時間を いとおしく弄ぶ
灼熱のグルーヴで 唄っておくれよ 

 満たされない渇きを
ため息で濡らそう

星屑はサファイア  おまえが欲しい

ひび割れた夜空から
虹の涙が落ちる
愛の雫のように

星影淫らに  欲望のダンス
星屑はサファイア  おまえが欲しい

 

Romaji

By: Andy

Waisetsu na yume no naka Hajishirazu ni odorou
Noizu no haamonii de
Yoru wo izanae

Gekiyaku no you na koi Hitoiki ni nomihosou
Houseki no you na ima
Omae ga ireba ii

 Iyasarenai kizuguchi
Kasane awaseru no sa

Hoshikage midara ni  Yokubou no dansu

Aojiroi kubisuji ni Shitataru akai wain
Shitasaki de nuguttara Matsuge ga yureteta

Yogorete yuku jikan wo Itooshiku moteasobu
Shakunetsu no guruubu de Utatte okure yo

 Mitasarenai kawaki wo
Tameiki de nurasou

Hoshikuzu wa safaia  Omae ga hoshii

Hibiwareta yozora kara
Niji no namida ga ochiru
Ai no shizuku no you ni

Hoshikage midara ni  Yokubou no dansu
Hoshikuzu wa safaia  Omae ga hoshii

 

English