1993.02.14 | After Zero
SAINT

Lyrics By Ken-ichi

Music by Valentine D.C.

Japanese

 

HEAD ACHE 悪あがきはやめにしようぜ
         空虚に冷えていく
HEAD ACHE パラノイアにおち入る前に
         このままキズつけ合うのはゴメンさ

   You Should Go 止めないよ
   このままじゃ——

BABY 凍りついた時間を今 Melt Down
    お互いのうさ晴らしが
BABY 憎しみに変わりゆく前に
    全てを白紙に戻せばいいのさ

NO GOOD  ただルーズに続けるなら
      さしさわりは No Good
Mon, Tue, Wed, Thu, Fri, Sat, and Sunday
I tried so hard to reach you. How I done!

   I Gotta Go 打ち明けよう
   Now, I want to say
     ——”Get outta here, outta my sight!

BLACK+BLUE ゴマかしきれないユウウツ Feelin’
涙は見たくないよ Baby Doll
BLACK+BLUE なぐさめられないミジメな Feelin’
俺の言葉を聞いてくれ

Romaji

By: Andy

HEAD ACHE  Waruagaki wa yame ni shiyou ze
       Kuukyo ni hiete iku
HEAD ACHE  Paranoia ni ochi iru mae ni
       Kono mama kizutsuke au no wa gomen sa

   You Should Go Tomenai yo
   Kono mama ja——

BABY  Kooritsuita toki wo ima Melt Down
     Otagai no usabarashi ga
BABY  Nikushimi ni kawari yuku mae ni
     Subete wo hakushi ni modoseba ii no sa

NO GOOD Tada ruuzu ni tsudzukeru nara
      Sashisawari wa No Good
Mon, Tue, Wed, Thu, Fri, Sat, and Sunday
I tried so hard to reach you. How I done!

   I Gotta Go Uchiakeyou
   Now, I want to say
     ——”Get outta here, outta my sight!

BLACK+BLUE Gomakashi kirenai yuuutsu Feelin’
Namida wa mitakunai yo Baby Doll
BLACK+BLUE Nagusamerarenai mijime na Feelin’
Ore no kotoba wo kiite kure

English

 

 

1993.02.14 | After Zero
SAINT

Lyrics By Ken-ichi

Music by Valentine D.C.

Japanese

 

TIME LIMIT は土の中
BLACK OUT 灰になるまでの MY LIFE
一握りの思い出と
空しく埋もれるつもりはない

   しがみつけ時代を越えて
   刻みつけろ 生命の跡を
     ――TRACE OF THE SEEKER

『リスクは重く,冷たい』
やめろ! 只の泣き事になる
つまらない事に悩まされ
一体何を残せるだろう・・・

   からみつく時間の糸に
   魂の欠けらを縛る
     ――TRACE OF THE SEEKER

OH WHEN I REST IN PEACE

無理に目を閉じ眠った夜に
ピストルにぎる夢を見た
灰色の壁にただ囲まれて
「どうすりゃいいんだ」うめき声あげ

 

Romaji

By: Andy

TIME LIMIT wa uchi no naka
BLACK OUT Hai ni naru made no MY LIFE
Hitonigiri no omoide to
Munashiku umoreru tsumori wa nai

   Shigamitsuke jidai wo koete
   Kizamitsukero Inochi no ato wo
     ――TRACE OF THE SEEKER

[Risuku wa omoku, Tsumetai]
Yamero! Tada no naki koto ni naru
Tsumaranai koto ni nayamasare
Ittai nani wo nokoseru darou…

   Karamitsuku jikan no ito ni
   Tamashii no kakera wo shibaru
     ――TRACE OF THE SEEKER

OH WHEN I REST IN PEACE

Muri ni me wo toji nemutta yoru ni
Pisutoru ni giru yume wo mita
Haiiro no kabe ni tada kakomarete
[Dou surya iinda] Umekigoe age

English

 

 

1993.02.14 | After Zero
SAINT

Lyrics By Ken-ichi

Music by Valentine D.C.

Japanese

 

汚ない物しかこの街にはなくて
ただ綺麗な物だけしか見えてやしないよ

人生に足掻き悩んだあいつの自殺も
200円そこらの週刊誌で売られる

   言葉にならない声があるよ
   この場所じゃもう聞き取れないよ

   SICK SICK SICK OF ’90S
   何に対して 笑えばいい? for now

ブラウン管に映る戦争はREAL TIME
誰だろう・・・ ガレキの横で泣いているのは

最後に映った笑顔は始めた奴で
次に狙うのは Ahきっとこの街

   誰を信じ 迎えりゃいい?
   何に対して 笑えばいい?

 THERAPY!

誰かが怯えて叫んだよ “HELP ME”
ほら浮かれた笑い声がかき消すこの街

Romaji

By: Andy

Kitanai mono shika kono machi ni wa nakute
Tada kirei na mono dake shika miete yashinai yo

Jinsei ni agaki nayanda aitsu no jisatsu mo
Nihyaku en sokora no shuukanshi de urareru

   Kotoba ni naranai koe ga aru yo
   Kono basho ja mou kikitorenai yo

   SICK SICK SICK OF ’90S
   Nan ni taishite Waraeba ii? for now

Buraunkan ni utsuru sensou wa REAL TIME
Dare darou… Gareki no yoko de naiteiru no wa

Saigo ni utsutta egao wa hajimeta yatsu de
Tsugi ni nerau no wa Ah kitto kono machi

   Dare wo shinji Mukaerya ii?
   Nan ni taishite Waraeba ii?

 THERAPY!

Dareka ga obiete sakenda yo “HELP ME”
Hora ukareta waraigoe ga kakikesu kono machi

English

 

 

【Concert Report】
the Opening Day of BUCK-TICK’s latest album’s National Tour

BARKS
24 April 2023

text by Okubo Yuka
photos by Seitaro Tanaka

 

BUCK-TICK held a concert at J:COM Hall Hachioji in Tokyo, kicking off the national tour BUCK-TICK TOUR 2023 異空-IZORA- for their latest album on 19 April. Here’s what happened.

 

 

On 12 April, when the flowers were in full bloom, BUCK-TICK released their new album 異空 -IZORA- which thrilled fans as their “latest and best” update. With this latest release, their nation-wide tour BUCK-TICK TOUR 2023 異空-IZORA- started on 19 April, at J:COM Hall Hachioji in Tokyo.

As the lights turned down and the first instrumental track of the album QUANTUM played, drummer Yagami Toll, bassist Higuchi Yutaka, guitarist Hoshino Hidehiko and guitarist Imai Hisashi came on stage one by one to the cheers and applause of the audience. Although the audience remained masked, this was to be the first tour in about 3 years and 4 months where the ban on audience vocalisations was lifted. When vocalist Sakurai Atsushi appeared centrestage, completing the band, the cheers grew ever louder. This is the moment everyone had been waiting for.

Showered in claps and cheers, the band performed freely like fish to water. With their white costumes and matching equipment, guitarists Imai and Hoshino who usually create a beautiful symmetry on stage looked like a pair of wings. Their two guitars would intertwine to sound one single heavy riff, or take light steps in pleasant unison. On the other hand, the  rhythm team of Yagami and Higuchi were dressed in black as they accompanied the songs with both soft, warm bass notes and emotional heavy rhythms.

And there was Sakurai who took many forms whenever he spread his arms; a scarecrow; an angel; an aircraft. What is it he wishes for with open arms? Is it forgiveness for holding a beloved child in gun-toting hands? Is it the acceptance of diversity? Is it LOVE&PEACE? All the protagonists depicted in 異空 -IZORA-’s songs are so intense that they take hold of Sakurai the moment the song’s intro begins. Every gesture and movement is filled with the power of each character’s emotions in each song; so beautiful, so raw.

This performance consisted mainly of songs from the 異空 -IZORA- album like Sayonara Shelter destroy and regenerate-Mix which had warmth added to it with the gorgeously articulated violin, Mugen LOOP -LEAP- which had an intro which sounded like a gathering of beautiful fragile bubbles of sound, and Boogie Woogie which Sakurai introduced as  “a story from over 35 years ago recreated using the latest technology”. 

As earlier described, all the songs were intense. I was curious to find out what older songs would be incorporated in here, and the final result was beyond anything I could’ve imagined. They create indescribable stories by fleshing out the 異空 -IZORA- songs and adding backstories to them. It was especially so after Taiyou to Icarus; a painful, tragic, gentle, yet beautiful world which seemed to encompass everything awaited.

As I watched the show, Sakura, a poem by Ibaraki Noriko, a poet who lived during the war suddenly came to mind. It describes the fragility and preciousness of human life by comparing it to that of a flower. BUCK-TICK sings: Together with life, “Now bloom in exuberance”. As I held dear this moment where I am enjoying their show, I wonder how many more times can I watch a BUCK-TICK concert, like how the poem asks how many times can we see cherry blossoms bloom in one lifetime.

The tour has just begun. How will the songs of 異空 -IZORA- grow in depth as this tour goes on from late spring to early and eventually mid-summer? And what kind of sky will each and every audience member find in their hearts by the time the final performance arrives on 23 July? This is a show that draws people to watch it again and again to find out how the story of this production will change. I hope to enjoy these shifting skies to the fullest.

 

_____________________________________________________________________________

 

Concert/Event Information
<BUCK-TICK TOUR 2023 異空-IZORA->

Wednesday, 19 April 2023 — Tokyo: J:COM Hall Hachioji
Sunday, 23 April 2023 — Tochigi: Utsunomiya City Cultural Center, Large Hall
Saturday, 13 May 2023 — Kagawa: High Staff Hall, large hall (Kanonji City Meeting Hall)
Sunday, 14 May 2023 — Okayama: Kurashiki City Auditorium
Saturday, 20 May 2023 — Kyoto: ROHM Theatre Kyoto, main hall
Sunday, 21 May 2023 — Hyogo: Kobe Kokusai Kaikan Kokusai Hall
Saturday, 27 May 2023 — Kanagawa: Pacifico Yokohama National Convention Hall
Saturday, 3 June 2023 — Aichi: Japan Special Ceramic Industry Civic Center, Forest Hall (ex. Nagoya Civic Hall)
Saturday, 10 June 2023 — Ishikawa: Hondanomori Hall
Sunday, 11 June 2023 — Nagano: Nagano City Arts Center, main hall
Saturday, 17 June 2023 — Osaka: Orix Theater (ex. Osaka Welfare Pension Hall)
Sunday, 18 June 2023 — Osaka: Orix Theater (ex. Osaka Welfare Pension Hall)
Saturday, 24 June 2023 — Hiroshima: Ueno Gakuen Hall (Hiroshima Prefectural Culture and Arts Hall)
Sunday, 25 June 2023 — Fukuoka: Fukuoka Sunpalace Hotel & Hall
Saturday, 1 July 2023 — Hokkaido: Sapporo Kanamoto Hall (Sapporo Civic Hall)
Sunday, 9 July 2023 — Miyagi: Sendai Sun Plaza Hall
Saturday, 15 July 2023 — Gunma: Takasaki City Theatre, large theatre
Monday (holiday), 17 July 2023 — Shizuoka: Shizuoka City Culture Hall, large hall
Saturday, 22 July 2023 — Tokyo: Tokyo Garden Theatre
Sunday, 23 July 2023 — Tokyo: Tokyo Garden Theatre

Early bird tickets: 9,900 yen (w/ tax)
Tickets currently on sale

For more information, please visit the dedicated website:
https://buck-tick.com/feature/specialsite_2023tour

 

 

 

 

Translation: Yoshiyuki
Source: BARKS

 

2009.03.06 | POP MANIA LABEL
PRIMITIVE

Lyrics By ISSAY

Music by HIKARU

Japanese

 

不協和音の天国は OverDrive
Download 星さえ落とす
罵詈雑言のネットワークはパラダイス
遭遇そして暴走

冥王星のキングは Be Satisfied
挨拶代わりにウインクした

Hello! My Angels 不埒にGO GO
悲しい暴言 撒き散らしながら
Hello! My Angels ギスギスしたい
破壊と再生のダンスを踊ろうぜ Let’s go to HELL

モバイルサバイバー誹謗中傷のブギー
DryEye闇へダイブする
光のハイウェイやけぱっちでUpload
Good Trip? or Bad Trip?

傍若無人はしゃぐプルート Nobody Knows
ニヤけたツラしてアジテーション

Hello! My Angels 不埒にGO GO
激しい邪推を踏みしめながら
Hello! My Angels 過激に生きろ
破壊と再生のダンスを教えよう Fallin’ to the END

冥王星は寒いさ There is No Space.
スコーピオンとスネイクは蒼ざめた

Hello! My Angels 不埒にGO GO
スカした暴言 撒き散らしながら
Hello! My Angels どぎつく行こう
破壊と再生のダンスを踊ろうぜ Let’s go to HELL

Romaji

By: Yoshiyuki

Fukyou waon no tengoku wa OverDrive
Download Hoshi sae otosu
Bari zougen no nettowaaku wa paradaisu
Souguu Soshite bousou

Meiousei no kingu wa Be Satisfied
Aisatsu kawari ni wuinku shita

Hello! My Angels Furachi ni GO GO
Kanashii bougen maki chirashi nagara
Hello! My Angels Gisugisu shitai
Hakai to saisei no dansu wo odorou ze Let’s go to HELL

Mobairu sabaibaa hibou chuushou no bugii
DryEye yami he daibu suru
Hikari no hai u-ei yakepacchi de Upload
Good Trip? or Bad Trip?

Boujakubujin hashagu puruuto Nobody Knows
Niyaketa tsurashite ajiteeshon

Hello! My Angels Furachi ni GO GO
Hageshii jasui wo fumishime nagara
Hello! My Angels Kageki ni ikiro
Hakai to saisei no dansu wo oshieyou Fallin’ to the END

Meiousei wa samui sa There is No Space.
Sukoopion to suneikku wa aozameta

Hello! My Angels Furachi ni GO GO
Sukashita bougen maki chirashi nagara
Hello! My Angels Dogitsuku ikou
Hakai to saisei no dansu wo odorou ze Let’s go to HELL

English

By: Yoshiyuki

A heaven of dissonance is OverDrive
Download Even stars fall
A network of profanities is paradise
Affront And run wild

The king of Pluto will Be Satisfied
He winked in place of a greeting

Hello! My Angels Brazenly GO GO
While scattering sad profanities all around
Hello! My Angels I want to be unfriendly
Let’s dance the dance of destruction and rebirth Let’s go to HELL

Mobile survivor, a libelous boogie
Dive into the DryEye darkness
Highway of light, desperately Upload
Good Trip? or Bad Trip?

Pluto frolicking with audacious abandon Nobody Knows
Agitation with a smirk on his face

Hello! My Angels Brazenly GO GO
While stomping on tempestuous suspicions
Hello! My Angels Live radically
I’ll teach you the dance of destruction and rebirth Fallin’ to the END

Pluto is cold, so you know There is No Space.
The scorpion and the snake turned pale

Hello! My Angels Brazenly GO GO
While scattering cocky profanities all around
Hello! My Angels Let’s do this garishly
Let’s dance the dance of destruction and rebirth Let’s go to HELL

2009.03.06 | POP MANIA LABEL
PRIMITIVE

2020.11.11 | POP MANIA LABEL
21世紀

Lyrics By ISSAY

Music by HIKARU

Japanese

 

溢れ出る気持ちに理由なんてない
特別な一日が欲しいわけじゃない
ただ君と一緒にいたい
君が微笑んでくれるのならば

and I sing a love song, such a silly love song
君が望むなら僕はやさしくもなれる
and I sing a love song, such a silly love song
約束のない今を君と生きたい I love you so.

痛みのない愛なんて信じてはいない
やさしげな囁きが聞きたいんじゃない
君だけを見つめたい
君の涙をぬぐいされるなら

and I sing a love song, such a silly love song
君が願うなら僕は強くもなれる
and I sing a love song, such a silly love song
Yakusoku no nai ima wo kimi to arukitai I love you so.

沈黙の真夜中に
君の見ている世界に住みたい

and I sing a love song, such a silly love song
君が望むなら僕は道化にもなれる
and I sing a love song, such a silly love song
約束のない今を君と過ごしたい I love you so.

Romaji

By: Andy

Afurederu kimochi ni riyuu nante nai
Tokubetsu na ichinichi ga hoshii wake janai
Tada kimi to issho ni itai
Kimi ga hohoende kureru no naraba

and I sing a love song, such a silly love song
Kimi ga nozomu nara boku wa yasashiku mo nareru
and I sing a love song, such a silly love song
Yakusoku no nai ima wo kimi to ikitai I love you so.

Itami no nai ai nante shinjite wa inai
Yasashige na sasayaki ga kikitai’n janai
Kimi dake wo mitsumetai
Kimi no namida wo nugui sareru nara

and I sing a love song, such a silly love song
Kimi ga negau nara boku wa tsuyoku mo nareru
and I sing a love song, such a silly love song
Yakusoku no nai ima wo kimi to arukitai I love you so.

Chinmoku no mayonaka ni
Kimi no miteiru sekai ni sumitai

and I sing a love song, such a silly love song
Kimi ga nozomu nara boku wa douke ni mo nareru
and I sing a love song, such a silly love song
Yakusoku no nai ima wo kimi to sugoshitai I love you so.

English

 

 

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

 

 

2009.03.06 | POP MANIA LABEL
PRIMITIVE

2020.11.11 | POP MANIA LABEL
21世紀

Lyrics By ISSAY

Music by HIKARU

Japanese

 

春先のSHININ’ HOLIDAY
君に誘われて
重いドアを開ける
僕には眩しい外の世界 僕には遠い外の空気

いつもより早く起きて 公園までそぞろ歩き
日の光浴びながら 君は笑顔絶やさない

Shinin’ Day 日だまりの中
君と二人きりで 悲しみの影も無い
何ごとも起こらない今日という日
この僕はまともになれるだろうか?

穏やかなSHININ’ HOLIDAY
暖かい風の中
芝生に寝転がり
君は微笑み雲を見てる 僕には眩しい君の笑顔

木漏れ日のあたるカフェ クロワッサンとミルクティー
誰もがゆっくり歩くさまを 日が暮れるまで眺めよう

Shinin’ Day 風が笑った
君と二人きりで 悲しい予感も無い
何ごとも起こらない今日という日
この僕は生まれ変われるのかい?

Shinin’ Day 日だまりの中
君と二人きりで 悲しみの影も無い
なんて事ない春の午後に 君は僕を救ってくれた

SHININ’ HOLIDAY
SHININ’ HOLIDAY
SHININ’ HOLIDAY
SHININ’ HOLIDAY
Shinin’ Day
Shinin’ Day
Shinin’ Day
Shinin’ Day

Romaji

By: Andy

Harusaki no SHININ’ HOLIDAY
Kimi ni sasowarete
Omoi doa wo akeru
Boku ni wa mabushii soto no sekai Boku ni wa tooi soto no kuuki

Itsumo yori hayaku okite Kouen made sozoro aruki
Hi no hikari abi nagara Kimi wa egao tayasanai

Shinin’ Day Hidamari no naka
Kimi to futarikiri de Kanashimi no kage mo nai
Nanigoto mo okoranai kyou to iu hi
Kono boku wa matomo ni nareru darou ka?

Odayaka na SHININ’ HOLIDAY
Atatakai kaze no naka
Shibafu ni nekorogari
Kimi wa hohoemi kumo wo miteru Boku ni wa mabushii kimi no egao

Komorebi no ataru kafee Kurowassan to miruku tii
Daremo ga yukkuri aruku sama wo Hi ga kureru made nagame you

Shinin’ Day Kaze ga waratta
Kimi to futarikiri de Kanashii yokan mo nai
Nanigoto mo okoranai kyou to iu hi
Kono boku wa umare kawareru no kai?

Shinin’ Day Hidamari no naka
Kimi to futarikiri de Kanashimi no kage mo nai
Nante koto nai haru no gogo ni Kimi wa boku wo sukutte kureta

SHININ’ HOLIDAY
SHININ’ HOLIDAY
SHININ’ HOLIDAY
SHININ’ HOLIDAY
Shinin’ Day
Shinin’ Day
Shinin’ Day
Shinin’ Day

English

 

 

2009.03.06 | POP MANIA LABEL
PRIMITIVE

Lyrics By ISSAY, HIKARU

Music by HIKARU

Japanese

 

バネッサはトラップに はまってるもがいてる
火照ってる体を ベレッタで撃ち抜く Bang Bang Bang!

  謎めいた宴は  裏通りのヴィーナス
むせ返るチープなパフューム のけぞる月の下

バネッサはテキーラと 踊ってる笑ってる
唸ってる獣は 狙ってる集ってる All night long

  12月の街角は  冷たいキスをせがむ
静脈の避雷針が  つかんだ手に刺さる

夜でもない朝でもない おまえしか見えない
抱いておくれ やさしい手で 俺をしとめて
Shake it Shake it Shake it Shake it
Vanessa, Shake it Vanessa, Shake it Out

バネッサは唄ってる 叫んでる嘆いてる
ジャケットを投げ捨て スポットに浮かんだNaked Truth

  乾いた舌先で  紡いだフェアリーテール
足下に影を落とす  未来を抱きしめる

夜でもない朝でもない おまえしか見えない
抱いておくれ やさしい手で 俺をしとめて
この夜が消えて朝が消えて おまえを離さない
二人きりで 闇の果てで  風穴を開けよう
Shoot it Shoot it Shoot it Shoot it
Vanessa, Shoot it Vanessa, Shoot it Out

Romaji

By: Andy

Banessa wa torappu ni Hamatteru mogaiteru
Hotetteru karada wo Beretta de uchinuku Bang Bang Bang!

  Nazomeita utage wa  Uratoori no viinasu
Musekaeru chiipu na pafyuumu Nokezoru tsuki no shita

Banessa wa tekiira to Odotteru waratteru
Unatteru kemono wa Neratteru takatteru All night long

  Juunigatsu no machikado wa  Tsumetai kisu wo segamu
Joumyaku no hiraishin ga  Tsukanda te ni sasaru

Yoru demo nai asa demo nai Omae shika mienai
Daite okure Yasashii te de Ore wo shitomete
Shake it Shake it Shake it Shake it
Vanessa, Shake it Vanessa, Shake it Out

Banessa wa utatteru Sakenderu nageiteru
Jaketto wo nagesute Supotto ni ukanda Naked Truth

  Kawaita shitasaki de  Tsumuida feariiteeru
Ashimoto ni kage wo otosu  Mirai wo dakishimeru

Yoru demo nai asa demo nai Omae shika mienai
Daite okure Yasashii te de Ore wo shitomete
Kono yoru ga kiete asa ga kiete Omae wo hanasanai
Futarikiri de Yami no hate de  Kazaana wo akeyou
Shoot it Shoot it Shoot it Shoot it
Vanessa, Shoot it Vanessa, Shoot it Out

English

 

 

2009.03.06 | POP MANIA LABEL
PRIMITIVE

Lyrics By ISSAY

Music by HIKARU

Japanese

 

飼いならされた日常で 眠り続けるwild at heart
傷ついた胸掻きむしり 原始の血を流すのさ

ラウドなビート Noisy Moon 聴えたなら起きあがれ
銀色の音響く中 裸で抱き合おう

細胞に刻み込まれた 遠い記憶呼び醒ませ

PRIMITIVE STAR 踊れ騒げ
全てを初期化してやるのさ
あるがままに 思うままに Go, Let you go!
Hey! Hey! OH OH Twinkle STAR
Hey! Hey! We are Glitter STAR

夜空に響くCriminal scream 理性さえも剥がされる
野性の嘆きつらぬかれ 蒼い月も落ちる

心臓が刻んでるリズムに 時計を合わせるのさ

PRIMITIVE STAR 唄え騒げ
しみったれた未来変えるのさ
あるがままに なすがままに Go, Let you go!
Hey! Hey! OH OH Twinkle STAR
Hey! Hey! We are Glitter STAR

絶滅のマンモスの夜を 従えて叫ぶのさ

PRIMITIVE STAR 踊れ騒げ
全てを初期化してやるのさ
あるがままに 思うままに
夜空を引き裂く星に乗ろう
PRIMITIVE STAR 唄え騒げ
しみったれた未来変えるのさ
あるがままに なすがままに Go, Let you go!
Hey! Hey! OH OH Twinkle STAR
Hey! Hey! We are Glitter STAR

Romaji

By: Andy

Kainarasareta nichijou de Nemuri tsudzukeru wild at heart
Kizutsuita mune kakimushiri Genshi no chi wo nagasu no sa

Raudo na biito Noisy Moon Kikoeta nara okiagare
Giniro no oto hibiku naka Hadaka de dakiaou

Saihou ni kizami komareta Tooi kioku yobi samase

PRIMITIVE STAR Odore sawage
Subete wo shokika shite yaru no sa
Aru ga mama ni Omou mama ni Go, Let you go!
Hey! Hey! OH OH Twinkle STAR
Hey! Hey! We are Glitter STAR

Yozora ni hibiku Criminal scream Risei sae mo hagasareru
Yasei no nageki tsuranukare Aoi tsuki mo ochiru

Shinzou ga kizanderu rizumu ni Tokei wo awaseru no sa

PRIMITIVE STAR Utae sawage
Shimittareta mirai kaeru no sa
Aru ga mama ni Nasu ga mama ni Go, Let you go!
Hey! Hey! OH OH Twinkle STAR
Hey! Hey! We are Glitter STAR

Zetsumetsu no manmosu no yoru wo Shitagaete sakebu no sa

PRIMITIVE STAR Odore sawage
Subete wo shokika shite yaru no sa
Aru ga mama ni Omou mama ni
Yozora wo hikisaku hoshi ni norou
PRIMITIVE STAR Utae sawage
Shimittareta mirai kaeru no sa
Aru ga mama ni Nasu ga mama ni Go, Let you go!
Hey! Hey! OH OH Twinkle STAR
Hey! Hey! We are Glitter STAR

English