Der Zibet
ISSAY + HIKARU

Après-guerre Reissue Vol.5
July 2017

Since their reunion, Der Zibet continued activities with their unique stance and has now released 20 Seiki (20世紀 / 20th Century), a best-of album comprising of songs they released in the 20th century, as selected by the members of the band. There is no question that even those who have recently become fans will be able to enjoy their live performances even more after listening to this album. And to those who aren’t very familiar with them yet, I invite you to have a taste of their remarkable legacy.

 

PROFILE
Debuting in 1986, ISSAY’s presence and their one-of-a-kind band image and music won them an ardent following. Kirigirisu (キリギリス) was the last album they released before they ceased activity. 10 years passed before they reunited. Since then, they have kept active at their own pace with live performances and music releases.

■OFFICIAL HP
http://derzibet.com/

 

 

――What gave you this idea to release a best-of album?

HIKARU (H): Around the end of our 30th debut anniversary year, talk about going through some record company to release it started up but since these are old releases, things are complicated with the rights so even though we originally intended to release it last year, it ended up being this year. In the beginning, things were moving along pretty smoothly but setbacks came in at the very end (wry smile). Feels like we finally released it.

――How did you feel when you got confirmation that it was going to be released?

H: Happy, right?

ISSAY (I): Because we never thought it could be. It was the sort of situation where we were questioning whether something like this was even possible.

H: Also because this is the first time we had the freedom to choose all the songs in a best-of album.

――How did you pick the songs?

H: Ultimately, we focused on songs that we perform live. We’ve done live performances of all the songs here.

I: Even if we did include songs that we don’t perform, that’s no fun, is it? There’s an increase in those who aren’t fans from way back, and they voiced out that it’s difficult to get their hands on original releases from those days too. Which also means there are a lot of songs we perform live that they don’t know, aren’t there? So, you see, it was quickly decided that this would be based on the songs we perform in our shows. Then HIKARU came in with, “What do you think about something like this?” and shared a draft with us. From there, [discussions] were like, don’t you think including this is better than that, and all that.

H: Cutting [the number of songs] down was more difficult, wasn’t it? Because we chose a little too many. Everyone was suggesting this and that.

I: While drinking, yes (lol).

H: In the mastering stage, we couldn’t fit [all the tracks] into the first CD (wry smile). We had to revise a bunch of things. Besides, if we were back in the vinyl record days, it’d be a 4-piece release, this collection.

――It’s quite a hefty one, isn’t it? Among the songs, the only newly recorded one is Neo Flower Moon. Why did you choose to record a studio version of it at this point in time? It’s from 1986, isn’t it?

I: We intended to put in in the previous album, Bessekai (別世界 / Another World). We had that in mind but the number of songs we made for Bessekai grew too large so then we again decided to put it back in storage. And now it finally gets to see the sun here.

H: The topic of recording it never came up in the past, and even though we’re only doing it now, it doesn’t feel out of place at all. Although it’s a song from 1986, it doesn’t feel weird to place it within Bessekai, and it’s fine that we do it only now, too. That’s some sort of interesting.

I: It’s something we’ve been dragging out until now so I guess it’s just good that we’re finally doing it now.

H: It’s like a homecoming.

I: And we basically kept the arrangement the same too.

――Even the lyrics?

I: I made adjustments in some parts but it’s basically unchanged, yes.

Often described as unorthodox¹

――Are the two discs meant to feel like they are split chronologically?

H: The songs we released through BMG are indeed in the second CD but that’s a good thing, isn’t it? On the contrary.

I: Because there are a lot of BMG era songs that we started to play after our reunion, aren’t there?

H: The last album we released was Kirigirisu (キリギリス / Grasshopper) and then our activities came to a halt so we didn’t manage to do a tour for it. It was pretty interesting playing the songs from that album after we came back together. We ended up recording a lot [of songs] for disc 2 so I think it’s good that we had them divided like that. Included are also really unorthodox songs that would make people wonder why they’re in a best-of compilation, but they’re a perfect fit for the present, right?

――Do you feel that there’s some reason why you don’t feel uncomfortable playing these songs again now, 30 years later, after so much time has passed?

Both: ……

I: We both fell silent (lol). This time, since we have such a quantity, we were able to include unorthodox songs, especially those from our BMG era. There are unorthodox songs in the first CD too, but whatever people used to call unorthodox back then doesn’t feel as unorthodox as it used to now in present times. After 30 years, we’re finally not unorthodox (wry smile).

――Is that because societal values or something like that have changed with the times?

I: I think that’s one reason, and also that we are now able to easily execute the little things we do in our music. We’re now capable of doing them without needing to strain for it. That’s definitely a thing, isn’t it? Otherwise we definitely wouldn’t include songs like Club Idiot, normally (lol). But when we play them now, it feels good. It feels much better now than it was back then.

H: There are songs that we would never play in this day and age (wry smile). Something just wouldn’t feel right. The music and the melody or the arrangement or something else just wouldn’t be right. Like songs from our third album or something, there are some that we get asked to play but there’s no question that we definitely don’t want to (wry smile).

I: Probably, those songs, I think the fact that they’re over-produced contributes to it too.

H: There might have also been an element of trying to do more in an effort to sell well.

I: Besides, there are also [songs] that we did because we were told to try and do something less unorthodox. Not to say that we did that unwillingly, but because we did that, it also means that we’re straying off our centre line, doesn’t it? Back then, we didn’t know what our centre line was, but now, I would think we know where it lies.

――Maybe it doesn’t feel weird even after 30 years because that centre line sticks out.

I: It’d be cool if I said that it stuck out, but we can’t do anything else. I think basically, when we four or five come together to play, this is the only brand of music we’re capable of making. And that’s something I find particularly intriguing these days. I don’t get the sense that anything’s come through, you know? 

H: Back then, fun times were complicated by unpleasant times. Now, digging up the stuff that we did in the past to play is enjoyable. In those days, we weren’t exactly a fun band having fun.

I: Now you said it (lol).

H: It wasn’t a band where four people made music happily (wry smile). Neither were we a group who got along well with each other. In comparison, we’re actually on much better terms now. It’s way more fun now than it used to be.

――Why’s that? What’s different?

H: Because ISSAY got good at singing.

I: Oy! (Lol)

H: Now I can say that we can peacefully have drinks together and chit chat. We’re not clinging to the past because we want to create new things. Steadily evolving like this is fun.  This is a different feeling than what it used to be. Because back then, since we were signed to a major record label, there were other things to contend with like how the next album had to be delivered after a certain amount of time. Now we can spontaneously release new songs or albums.

――Basically, you do whatever you want.

I: During the 10-year break, I think we came to understand our mutual characteristics. When we started things up again, we really understood our respective attributes.

H: Because playing with the same band members means that we would know their habits from those days.

To feel the passage of time

――That’s also a change caused by the length of time, isn’t it? You mentioned that you don’t feel any discomfort with the songs themselves, but do you perhaps feel the youth in it or something like that?

I: In regard to these songs, there are indeed those that I don’t think I would presently write. There are a lot that I think I could only do because of the folly of my youth, or I could only write because I didn’t understand all that much. I think I probably possessed a strength I didn’t know I had.

――When you say that there are lyrics that you wouldn’t write in the present day… it isn’t about ISSAY-san, is it?

H: Because ISSAY doesn’t stray from his path. I’ve finally come to understand that. I used to think that it would be better if he would write lyrics that were easier to understand, but after the band came back together, we spoke about a lot of things. And when we were working on Primitive, topics like what eternity means to ISSAY came up. He often talks about eternity [in his lyrics] but I wanted to understand the heart of it. After that, I started to think that the lyrics he wrote back then were actually pretty good too (lol). That’s why I say that ISSAY doesn’t stray from his ways.

I: I certainly don’t. Looking at them now, there are lyrics that I think could’ve had a little more ingenuity in them, you know?

H: Because we’re comfortable now. Like the lyrics of Bessekai songs ended up reading like they’re showing you some sort of visual media. Although if you knew what it meant, you’ll probably be able to get a deeper understanding of the unhesitating lyrics from those days which looked like you wouldn’t be able to get it unless you listened to it.

――But don’t you think that things like lyrics have a greater tendency to change?

I: It’s not about writing because I want to write, but instead, I write because something took shape in my mind. Like a landscape or an event; whatever comes to mind, wins.

――Are there instances where you listen to an old song and feel that you probably wouldn’t be able to do the same thing in the present?

I: I think I was attuned to whatever was specific to each era, so I probably chose whatever fit best. But given the way my lyrics are, they won’t really give the impression that they’re dated, so I think they’re relatable even now. I don’t think it’s weird even if we take them out to play in this manner, right?

H: With titles like, Matsu Uta (待つ歌 / Waiting), Shizumitai (沈みたい / I Wish To Sink). Amazing. huh?

I: Matsu Uta just happened to turn out like that, though. It’s a waiting song, so it’s an alias, like, “Let’s do a song about waiting”. When I said that, Chikada Haruo-san said, Matsu Uta as a title is good. So, then, I decided we’ll name it Matsu Uta.

H: And because that’s our debut single, right? It only gets even more messed up from there. Shizumitai was a peculiar one too, wasn’t it? People would ask what’s Shizumitai supposed to mean? But now it’s intriguing. Back then, the only thought I had was, “Are there no cooler-sounding song names?”

I: Because all of us were rebellious, weren’t we? Sticking to what defined rock to us and all that. That’s why things were difficult, back then. We’d butt heads over that, you know? But I also think if we didn’t have those conflicts, then we wouldn’t be here now, anyway. I think it was very important that we fought right there and then while in the midst of production.

H: Production is fun now, isn’t it?

I: We still have conflicts on occasion but those are good conflicts, you know? This album is the product of conflicts but these days, we are capable of taking it normally so it’s good, isn’t it?

H: We’re all really thankful that we can release this at this time.

I: We’re thankful, and we’re just glad. In this album, we arranged the songs as if we were putting together a setlist for a live performance. Like, it’ll sound so good if this song came after this one. And I think that’s the most impressive thing about this album.

H: Arranging them, it felt like we could put on about three whole shows just like that.

――And who came up with the album name?

I: When we were having drinks, I suggested, “What about 20 Seiki?”

H: He likes T-REX and all, so he initially proposed titles like 20th Century Boy. Saying, “20 Seiki Shounen (20世紀少年 / 20th Century Boy) is a great name, isn’t it?” “Don’t you think it’s a good idea to have 20 Seiki come after Bessekai?” 

――It sounds really odd when I hear it like this. We’ve already been in the 21st century for quite some time now, haven’t we? And yet it doesn’t feel dated.

I: Exactly. It’s like saying what you’re currently hearing is what we did in the 20th Century (20 Seiki). And it’d be great if that’s the impression it gives people. Because I think that’s the way we meant for it to be.

――It’s a wonder why it doesn’t feel old though, isn’t it?

I: Because we don’t pander to trends (wry smile). We couldn’t keep up to whatever was trendy. And that turned out to be our fortune (lol).

H: These songs were angled for the band, so simply put, we weren’t sellable (wry smile), but now, that’s a good thing, isn’t it? If any one [of our works] turned out to rake in the cash, then I think everything would start revolving around it, or we’d never remove ourselves from it. After all this time, I think that’s good for us.

――I believe there are a lot of people who would be happy to hear it.

I: Because the album itself is interesting, isn’t it?

――Have you been called unorthodox¹ since your reunion?

H: These days, the world is filled with unorthodox things, so. What we do is legitimate, isn’t it?

I: Basically saying, in the end, we were right (lol).

――I’m sure you’d like for everyone to listen to this best-of collection and enjoy your live performances even more than ever.

H: And we’ve got a pretty tight schedule for the rest of this year, don’t we?

I: We’ll start producing our next album soon.

――Very ambitious! We’ll look forward to it.

 

 

 

Notes:

¹ マニアック (maniakku), literally read as “maniac” has been translated as “unorthodox” in this interview. Despite how it reads, its definition is more closely related to being obsessed with very specific or niche topics. In other words, something that isn’t generally accepted in mainstream society. Thus the translation choice here.

 

 

 

Translation: Yoshiyuki
Scans: Yoshiyuki

 

 

1986 | Unknown Label
Jumping Jam 1986: Shoot Through

Lyrics & Music By Tatsuya Mizunaga

Arranged by The Celluloid

Japanese

 

※フィルムを止めて下さい 早く
ラストシーンは知っているんだ すべて
薄暗いうそっぱちのアメリカの夜
セットの中の僕らは 抱きあい続けている
だけど
※※Please kiss me deadly once more
終幕のTheme musicは
Please kiss me deadly once more
遠ざかる足音だけ

シナリオのある恋愛の上で
いたずらな光と影が踊る
2時間ごとに誰かが傷ついている
あかりがついた後にも ののしりあい続けているんだ
※※Repeat

僕は立ちつくしている
今も立ちつくしている
耳をすましている
足音はまだ聞こえてる
※Repeat
※※Repeat
足音が消える
※※Repeat

 

 

Romaji

By: Ilya

※Film wo tomete kudasai hayaku
Last scene wa shitteirun da subete
Usugurai usoppachi no America no yoru
Set no naka no bokura wa dakiai tsuzuketeiru
Dakedo
※※Please kiss me deadly once more
Shuumaku no Theme music wa
Please kiss me deadly once more
Toozakaru ashioto dake

Scenario no aru renai no ue de
Itazura na hikari to kage ga odoru
Ni jikan gotoni dareka ga kizutsuiteiru
Akari ga tsuita ato ni mo nonoshiriai tsuzuketeirun da
※※Repeat

Boku wa tachi tsukushiteiru
Ima mo tachi tsukushiteiru
Mimi wo sumashiteiru
Ashioto wa mada kikoeteru
※Repeat
※※Repeat
Ashioto ga kieru
※※Repeat

 

English

 

1984.12.16 | Japan Record
Jumping Jam~Rebel Street III

1986 | Unknown Label
Fantaisiste

Lyrics & Music By Tatsuya Mizunaga

Arranged by The Celluloid

Japanese

 

東の果ての不思議の国にネオンまたたく
夜が来る
赤い烏居の下で待ちあわせ
来ないあなたの姿を探す

アルカイックな微笑の下に好奇の視線
渦巻く街も
エキゾチックなあなたとならば
ロマンチックな夜を過ごせる
Woo Woo

※クレセント・アイズ
あなたのまぶたに口づけしましょう
おぼろムーンライト
ゆがんだ月夜に浮かぶ黒髪の

薄墨色の冷たい夜に遠いお寺の鐘が響けば
あなたは妖し異国の闇にいつか再び姿を隠す
Woo Woo
※Repeat
Japanese Girl Japanese Girl 2 times

 

 

Romaji

By: Ilya

Higashi no hate no fushigi no kuni ni neon matataku
Yoru ga kuru
Akai torii no shita de machiawase
Konai anata no sugata wo sagasu

Archaic na bishou no shita ni kouki no shisen
Uzumaku machi mo
Exotic na anata to naraba
Romantic na yoru wo sugoseru
Woo Woo

※Crescent Eyes
Anata no mabuta ni kuchizuke shimashou
Oboro moonlight
Yuganda tsukiyo ni ukabu kurogami no

Usuzumi iro tsumetai yoru ni tooi otera no kane ga hibikeba
Anata wa ayashi ikoku no yami ni itsuka futatabi sugata wo kakusu
Woo Woo
※Repeat
Japanese Girl Japanese Girl 2 times

 

English

 

1985.07.25 | Blue Jug Records
Eatin’ Pleasure

1986 | Unknown Label
Fantaisiste

Lyrics & Music By Tatsuya Mizunaga

Arranged by The Celluloid

Japanese

 

やわらかな手触りの嘘を1ポンド
神経質なウサギに気をつけながら
僕の胸から切り取ってくれdarling
したたる血でやけどをしない様に
スパイスは香りの強いものを少しだけ
気まぐれな日陰に気をつけながら
一晩中煮こんでくれdarling
ジェラシーの火花に触れない様に

Do you know? Would you taste me Please?
Do you know? Would you taste me Please?

あなたの舌を溶かすワイン飲み下し
デザートには冷えきった愛を味わって
僕の身体を切り刻んでくれdarling
飛び散る血でドレスを汚さぬように

Do you know? Would you taste me Please?
Do you know? Would you taste me Please?
Do you know? Would you taste me Please?

 

 

Romaji

By: Ilya

Yawaraka na tezawari no uso wo ichi pound
Shinkeishitsu na usagi ni ki wo tsuke nagara
Boku no mune kara kiritotte kure darling
Shitataru chi de yakedo wo shinai you ni
Spice wa kaori no tsuyoi mono wo sukoshi dake
Kimagure na hikage ni ki wo tsuke nagara
Hitobanjuu ni konde kure darling
Jealousy no hibana ni furenai you ni

Do you know? Would you taste me Please?
Do you know? Would you taste me Please?

Anata no shita wo tokasu wine nomi kudashi
Dessert ni wa hiekitta ai wo ajiwatte
Boku no karada ni kirikizande kure darling
Tobichiru chi de dress wo yogosanu you ni

Do you know? Would you taste me Please?
Do you know? Would you taste me Please?
Do you know? Would you taste me Please?

 

English

 

 

Notes:

The italicized lyrics are not present in Blue Jug #21, but were picked up by ear instead. Please note that there may be mistakes.

 

 

2006 | NO LABEL
サボテン / カラスの生き方

2008.07 | NO LABEL
カラスの生き方

Lyrics & Music By Tatsuya Mizunaga

Japanese

 

疲れ果てた僕の足下で影はだらしなくのびて
チューブからひねり出したような夕陽がビルにかかる
太陽と月はすれちがいざまに目配せを交わして
愚かなりにあがき続けてる僕たちを憐れむ
何に追われて僕たちは
こんなに焦っているんだろう

鳥は飛べる事を自慢になんて思っていないだろう
余計なものなんて手に入れたくはないはずさ
カラスだけは別だけど だから奴らは嫌われる
光るものならどんなものでも奪おうとするから
どれだけのものを蓄えたら
安心できるんだろうか

一度に持てるものだけで
生きていければいいだなんて
思いながら何も選べずに
いたずらに身体は重くなる
もう十分だと何度思っただろう

そして僕は少しだけゆっくりと歩いてみる
追いこしていく人の背中を観察してみる
流れの中で立ち止まる僕はきっと迷惑この上なく
頭の上を通り過ぎたカラスの行方を見送った
空に踊る影絵のような
何も恐れてはいなく見えた

嫌われ者にはそれなりの
誇りがあるんだろう
そうして生きていく事も
楽なものじゃなさそうだ
僕にもそれはわかる気がした
一度に持てるものだけで
生きていけるほど強くもない
ありあまるほどのものなんか
必要じゃないにしても
もう太陽は光をおとした
あのカラスたちもどこかに消えた

 

 

Romaji

By: Ilya

Tsukare hateta boku no ashimoto de kage wa darashi naku nobite
Tube kara hineri dashita you na yuuhi ga biru ni kakaru
Taiyou to tsuki wa surechigai zama ni mekubase wo kawashite
Oroka nari ni agaki tsuzuketeru boku tachi wo awaremu
Nani ni owarete boku tachi wa
Konna ni asetteirun darou

Tori wa toberu koto wo jiman ni nante omotte inai darou
Yokei na mono nante te ni iretaku wa nai hazu sa
Karasu dake wa betsu dakedo   dakara yatsura wa kirawareru
Hikaru mono nara donna mono demo ubaou to suru kara
Dore dake no mono wo takuwaetara
Anshin dekirun darou ka

Ichi do ni moteru mono dake de
Ikiteikereba ii da nante
Omoi nagara nani mo erabezu ni
Itazura ni karada wa omoku naru
Mou juubun dato nan do omotta darou

Soshite boku wa sukoshi dake yukkuri to aruite miru
Oikoshite iku hito no senaka wo kansatsu shite miru
Nagare no naka de tachi domaru boku wa kitto meiwaku kono ue naku
Atama no ue wo toori sugita karasu no yukue wo mi okutta
Sora ni odoru kage no you na
Nani mo osorete wa inaku mieta

Kiraware mono ni wa sorenari no
Hokori ga arun darou
Soushite ikiteiku koto mo
Raku na mono ja na sa sou da
Boku ni mo sore wa wakaru ki ga shita
Ichi do ni moteru mono dake de
Ikiteikeru hodo tsuyoku mo nai
Ariamaru hodo no mono nanka
Hitsuyou ja nai ni shite mo
Mou taiyou wa hikari wo otoshita
Ano karasu tachi mo doko ka ni kieta

 

English

 

2006 | NO LABEL
サボテン / カラスの生き方

2008.07 | NO LABEL
ダリア

Lyrics & Music By Tatsuya Mizunaga

Japanese

 

愛情をずっとそそぎこんだら
サボテンは綺麗な花をつけるんだ
真夜中のほんのひととき

子供の頃僕はそれを見たくて
一晩中ずっとそばについていた
指先に血が滲んでた

太陽に背を向けてすわり
僕の影の中で
威嚇するように君は目を開いた

棘を持って生まれた
すべてのものと同じく
柔らかくて脆い自分を知っている

月光に包まれて眠り
夜の影の中に
潜むもの撫でるように息を吐いた

真夜中に開いた花を僕はまた見てる
大人になった僕は
不器用に触れたりはしない
棘を持って生まれた
すべてのものと同じく
柔らかくて脆い自分を知っている

 

 

Romaji

By: Ilya

Aijou wo zutto sosogi kondara
Saboten wa kirei na hana wo tsukerunda
Mayonaka no hon no hitotoki

Kodomo no koro boku wa sore wo mitakute
Hitobanjuu zutto soba ni tsuiteita
Yubisaki ni chi ga nijindeta

Taiyou ni se wo mukete suwari
Boku no kage no naka de
Ikaku suru you ni kimi wa me wo hiraita

Toge wo motte umareta
Subete no mono to onajiku
Yawarakakute moroi jibun wo shitteiru

Gekkou ni tsutsumarete nemuri
Yoru no kage no naka ni
Hisomu mono naderu you ni iki wo haita

Mayonaka ni hiraita hana wo boku wa mata miteru
Otona ni natta boku wa
Bukiyou ni fure tari wa shinai
Toge wo motte umareta
Subete no mono to onajiku
Yawarakakute moroi jibun wo shitteiru

 

English

 

2006 | NO LABEL
オアシス / Show Must Go On

2008.07 | NO LABEL
カラスの生き方

Lyrics & Music By Tatsuya Mizunaga

Japanese

 

everybody knows
こたえなんて出ない事を
everything goes on
通り過ぎるだけの時間を

僕はずっと酔ったように
愚かな夢を信じ続けてる
誰にも言えない話ばかりさ
それも もうもてあましてる
だけどまだ
雨の中濡れずに僕は歩けない

everybody knows
夜明けはいつも遠い事を
everything goes on
それを知るだけの時間を

僕はずっと際限もなく
映し出される影をながめてた
そこには何も居ないことも
いつの間にか忘れていく
そしてまた
朝焼けを確かめずには眠れない

誰もが傷を負ってるのに
夜の雨はやまない

僕はずっと酔ったように
愚かな夢を信じ続けてる
誰にも言えない話ばかりさ
それも もうもてあましてる
だけどまだ
雨の中濡れずに僕は歩けない
そしてまた
朝焼けを確かめずには眠れない

 

 

Romaji

By: Ilya

everybody knows
Kotae nante denai koto wo
everything goes on
Toori sugiru dake no jikan wo

Boku wa zutto yotta you ni
Oroka na yume wo shinji tsuzuketeru
Dare ni mo ienai hanashi bakari sa
Sore mo   mou mote amashiteru
Dakedo mada
Ame no naka nurezu ni boku wa arukenai

everybody knows
Yoake wa itsumo tooi koto wo
everything goes on
Sore wo shiru dake no jikan wo

Boku wa zutto saigen mo naku
Utsushi dasareru kage wo nagameteta
Soko ni wa nani mo inai koto mo
Itsu no ma ni ka wasureteiku
Soshite mata
Asayake wo tashikamezu ni wa nemurenai

Dare mo ga kizu wo otteru no ni
Yoru no ame wa yamanai

Boku wa zutto yotta you ni
Oroka na yume wo shinji tsuzuketeru
Dare ni mo ienai hanashi bakari sa
Sore mo   mou mote amashiteru
Dakedo mada
Ame no naka nurezu ni boku wa arukenai
Soshite mata
Asayake wo tashikamezu ni wa nemurenai

 

English

 

2006 | NO LABEL
オアシス / Show Must Go On

2008.07 | NO LABEL
カラスの生き方

Lyrics & Music By Tatsuya Mizunaga

Japanese

 

遠くまで 君はつぶやいて
僕の手をひいた
ガードレールに繋がれた犬をなでた
LEGOブロックで作ったようなビルの谷底で
僕らは悪い迷子に見えただろう
どこまでだっていいさ
君を連れていこう
あの日だって僕だけが
きみを見つけた
場違いな絵の中に
書き足された人のように
風景にとけ込めずに
きみは そこに
立っていた

媚びるでも怯えるでもない目をしたままで
老いた犬は僕らを眺めている
分かり合うための言葉ならきっと
無力だから
僕らはすこし無口なままでいる
いつまでだっていいさ
君のとなりに居よう
水の中 手をつないで歩く子のように
いつだってそこにあるのに
記憶されない景色のように
誰の気にも留められずに
僕は君を抱きしめた

喧噪の中に僕らは居るはずなのに
ざわめきは遠く
縮んでいく世界の中に
僕らはいる

どこまでだっていいさ
君を連れていこう
あの日だって僕だけが
きみを見つけた
場違いな絵の中に
書き足された人のように
風景にとけ込めずに
きみは そこに
立っていた

いつだってそこにあるのに
記憶されない景色のように
誰の気にも留められずに
僕は君を抱きしめた
抱きしめた

 

 

Romaji

By: Ilya

Tooku made   kimi wa tsubuyaite
Boku no te wo hiita
Guardrail ni tsunagareta inu wo nadeta
LEGO block de tsukutta you na biru no tanisoko de
Bokura wa warui maigo ni mieta darou
Doko made datte ii sa
Kimi wo tsureteikou
Ano hi datte boku dake ga
Kimi wo mitsuketa
Bachigai na e no naka ni
Kaki tasareta hito no you ni
Fuukei ni tokekomezu ni
Kimi wa soko ni
Tatteita

Kobiru de mo obieru demo nai me wo shita mama de
Oita inu wa bokura wo nagameteiru
Wakariau tame no kotoba nara kitto
Muryoku dakara
Bokura wa sukoshi mukuchi na mama de iru
Itsu made datte ii sa
Kimi no tonari ni iyou
Mizu no naka   te wo tsunaide aruku ko no you ni
Itsu datte soko ni aru no ni
Kioku sarenai keshiki no you ni
Dare no ki ni mo todomerarezu ni
Boku wa kimi wo dakishimeta

Kensou no naka ni bokura wa iru hazu na no ni
Zawameki wa tooku
Chijindeiku sekai no naka ni
Bokura wa iru

Doko made datte ii sa
Kimi wo tsureteikou
Ano hi datte boku dake ga
Kimi wo mitsuketa
Bachigai na e no naka ni
Kaki tasareta hito no you ni
Fuukei ni tokekomezu ni
Kimi wa soko ni
Tatteita

Itsu datte soko ni aru no ni
Kioku sarenai keshiki no you ni
Dare no ki ni mo todomerarezu ni
Boku wa kimi wo dakishimeta
Dakishimeta

 

English

 

2006 | NO LABEL
Neon Strip / Sorbit

2008.07 | NO LABEL
カラスの生き方

Lyrics & Music By Tatsuya Mizunaga

Japanese

 

金網越しに見下ろしていた
古いゲームのような都市を
僕はいつもあそこに居る
人に出会い
不安な汗流れるのをごまかすために
ぬるい水で顔を洗い濡れたままで笑っていた

地上に降りて
地下に潜って
知らない街の階段を昇る
青く四角い出口は空に
ちぎれたまま流されずに小さくなる
雲がひとつ
別にいそぐ事もないと
とどまるのも悪くはないと

レモンソルビット
ブルータブレット
悲しいのかがわからない
いつだって
そんなふうに僕たちは
話していないかな

飲み込めないままに
なめ続けていたら
糖衣ははがれおち
苦さが舌を刺す

風の中の蝶のように
戯れては離れていく
その季節が終わる事に
興味などないかのように
いつまでも同じように
なにもかもが続いていくと
だけど僕はそんなものを
この都市で見たことはない

ああ雲が流れていく
ああ僕も動いてる

金網越しに見下ろしていた
古いゲームのような都市を
僕はいつもあそこに居る
僕はいつもあそこに居る

 

Romaji

By: Ilya

Kanaami goshi ni mi oroshiteita
Furui game no you na machi wo
Boku wa itsumo asoko ni iru
Hito ni deai
Fuan na ase nagareru no wo gomakasu tame ni
Nurui mizu de kao wo arai nureta mama de waratteita

Chijou ni orite
Chika ni mogutte
Shiranai machi no kaidan wo noboru
Aoku shikakui deguchi wa sora ni
Chigireta mama nagasarezu ni chiisaku naru
Kumo ga hitotsu
Betsu ni isogu koto mo nai to
Todomaru no mo waruku wa nai to

Lemon sorbit
Blue tablet
Kanashii no ka ga wakaranai
Itsu datte
Sonna fuu ni boku tachi wa
Hanashite inai kana

Nomi komenai mama ni
Name tsuzuketeitara
Toui wa hagare ochi
Nigasa ga shita wo sasu

Kaze no naka no chou no you ni
Tawamurete wa hanareteiku
Sono kisetsu ga owaru koto ni
Kyoumi nado nai ka no you ni
Itsu made mo onaji you ni
Nani mo kamo ga tsuzuiteiku to
Dakedo boku wa sonna mono wo
Kono machi de mita koto wa nai

Aa kumo ga nagareteiku
Aa boku mo ugoiteru

Kanaami goshi ni mi oroshiteita
Furui game no you na machi wo
Boku wa itsumo asoko ni iru
Boku wa itsumo asoko ni iru

 

English

 

2006 | NO LABEL
ふわり / Mars

2008.07 | NO LABEL
ダリア

Lyrics & Music By Tatsuya Mizunaga

Japanese

 

ここは去年までとても古い
プラネタリウムがあった場所さ
誰もが空を見上げなくなり
空はますます小さくなる
僕は猫を抱いて
赤い星をさがした

惨めな夜を一度くらい
思い出せないほうがどうかしてる
誰かを殺したい
一度くらい
思わないほうが無理をしてる
君が生きてる事が
僕にはそれが大事さ

ここに立って
僕のそばで夜空を見ないか
ビルの上に赤い星が
肉眼で君にも見えるだろう

ここは去年までとても古い
プラネタリウムがあった場所さ
地上が空を照らし出すから
星は霞んで見えなくなる
夜になるのを待って
暗いビルをのぼった

永遠に漂流するものたちがいる
僕は君に猫をあずけて
宇宙を見上げた
ここに立って
僕のそばで夜空を見ないか
ビルの上に赤い星が
肉眼で君にも見えるだろう

 

Romaji

By: Ilya

Koko wa kyonen made totemo furui
Planetarium ga atta basho sa
Dare mo ga sora wo miage naku nari
Sora wa masumasu chiisaku naru
Boku wa neko wo daite
Akai hoshi wo sagashita

Mijime na yoru wo ichido kurai
Omoi dasenai hou ga dou ka shiteru
Dare ka wo koroshitai
Ichi do kurai
Omowanai hou ga muri wo shiteru
Kimi ga ikiteru koto ga
Boku ni wa sore ga daiji sa

Koko ni tatte
Boku no soba de yozora wo minai ka
Biru no ue ni akai hoshi ga
Nikugan de kimi ni mo mieru darou

Koko wa kyonen made totemo furui
Planetarium ga atta basho sa
Chijou ga sora wo terashi dasu kara
Hoshi wa kasunde mienaku naru
Yoru ni naru no wo matte
Kurai biru wo nobotta

Eien ni hyouryuu suru mono tachi ga iru
Boku wa kimi ni neko wo azukete
Uchuu wo miageta
Koko ni tatte
Boku no soba de yozora wo minai ka
Biru no ue ni akai hoshi ga
Nikugan de kimi ni mo mieru darou

 

English