Tag: Translations

DER ZIBET Lyrics | HELLO! MY ANGELS

Posted on by Andy

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

DER ZIBET Lyrics | LOVE SONG

Posted on by Andy

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 | [Jul 2017] Après-guerre Reissue Vol.5: Der Zibet — ISSAY + HIKARU

Posted on by Yoshiyuki

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

 

 

DER ZIBET Lyrics | SHININ’ HOLIDAY

Posted on by Andy

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

 

 

DER ZIBET Lyrics | VANESSAの情動 (Vanessa No Joudou)

Posted on by Andy

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

 

 

DER ZIBET Lyrics | PRIMITIVE STAR

Posted on by Andy

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

 

 

DER ZIBET Lyrics | PRAYER

Posted on by Andy

2009.03.06 | POP MANIA LABEL
PRIMITIVE

2020.11.11 | POP MANIA LABEL
21世紀

Lyrics By ISSAY

Music by HIKARU

Japanese

 

シルエット見つめる　アウトサイダー
すれ違いの連続
日に日に時間はスピードアップ
昨日の約束さえ思い出せないくらいさ

ゲームから降りたプレイヤー
孤独を抱きしめ生きる
繊細な心のプリズナー
名前も知らないあなたを抱きしめたいよ

　乾いた心に口吻けを
ストーリーが今から始まるさ

冷酷な空 浮かんだ つかの間の夢
あなたをもう離したくない
冷酷な空 見上げて 挑みたいのさ
この狂った世界の中で 歌い続ける

淋しさ誤魔化すポップチューン
祈りの声さかき消す
オイディプス達のニュースショウ
笑みを浮かべ忌々しい世界をblow out

　もつれた気持ちがもどかしい
新しいコトバで話そうか

冷酷な影 うろつく 顔のない街
あなたの目だけ光り輝く
冷酷な空 睨んで 叫びたいのさ
このゆがんだ世界の中で あなたと生きたい

　この悪夢から目醒める為
新しいカードで始めよう

冷酷な空 浮かんだ つかの間の歌
あなたをもう離しはしない
冷酷な空 見上げて 祈りたいのさ
この狂った世界の中で あなたと生きたい

Romaji

By: Andy

Shiruetto mitsumeru　Autosaidaa
Surechigai no renzoku
Hinihini jikan wa supiido appu
Kinou no yakusoku sae omoidasenai kurai sa

Geemu kara orita pureiyaa
Kodoku wo dakishime ikiru
Sensai na kokoro no purizunaa
Namae mo shiranai anata wo dakishimetai yo

　Kawaita kokoro ni kuchidzuke wo
Sutoorii ga ima kara hajimaru sa

Reikoku na sora Ukanda Tsuka no ma no yume
Anata wo mou hanashitakunai
Reikoku na sora Miagete Idomitai no sa
Kono kurutta sekai no naka de Utai tsudzukeru

Sabishii sa gomakasu poppu chuun
Inori no koe sa kakikesu
Oidippusu tachi no nyuusu shou
Emi wo ukabe imaimashii sekai wo blow out

　Motsureta kimochi ga modokashii
Atarashii kotoba de hanasou ka

Reikoku na kage Urotsuku Kao no nai machi
Anata no me dake hikari kagayaku
Reikoku na sora Nirande Sakebitai no sa
Kono yuganda sekai no naka de Anata to ikitai

　Kono akumu kara mezameru tame
Atarashii kaado de hajimeyou

Reikoku na sora Ukanda Tsuka no ma no uta
Anata wo mou hanashi wa shinai
Reikoku na sora Miagete Inoritai no sa
Kono kurutta sekai no naka de Anata to ikitai

English

 

 

DER ZIBET Lyrics | ヒートアイランドの白昼夢 (Heat Island no Hakuchuumu)

Posted on by Andy

2009.03.06 | POP MANIA LABEL
PRIMITIVE

2020.11.11 | POP MANIA LABEL
21世紀

Lyrics By ISSAY

Music by DER ZIBET

Japanese

 

圧縮された information　　脳細胞を走り回る
生き残りをかけたゲーム
生まれた時から楽しんでるスケアリーコースター
Da-lu-la　Da-lu-la　Da-lu-la

ない物ねだりのシンデレラ　　ウェンディ達はピーターを忘れた
Ah ヒートアイランドは白昼夢
誰かの日常になんて全く興味はないのさ
Da-lu-la　Da-lu-la　Da-lu-la

　原始のリズムに身をまかせ　　恋人達は溶け落ちてく

Holly Noise　今を　抱きしめながら
Holly Noise ここで 浮かれていたい

聖なるノイズは室外機　　欲望はいつもリアルタイム
とろけた太陽を飲み干せ　　みだらな妖精達が踊ってくれるさ
Da-lu-la　Da-lu-la　Da-lu-la

ロミオはジュリエットを探す　ジェリーはトムに恋をする
理性が悲鳴を上げたなら
コトバはいつも悲しい言い訳　ポイズンマッシュルーム
Da-lu-la　Da-lu-la　Da-lu-la

　原始のビートに誘われ　恋人達は一つになる

Holly Noise　今を　抱きしめながら
Holly Noise　ここで　漂っていたい

サボテン囓ったサイコリザードのたうち回る　シリアルキラーが笑ってた
サディスティックな傍観者達
孤独と沈黙　恐れる子供は逃げ出した

　原始のビートに操られ　　恋人達は永遠になる

Holly Noise　君と　漂っていたい
Holly Noise　君と　ヒートアイランドの白昼夢
Holly Noise　君と　浮かれていたい
Holly Noise　君と　ヒートアイランドの白昼夢
Holly Noise　Holly Noise

Romaji

By: Andy

Asshuku sareta information　　Nousaibou wo hashiri mawaru
Ikinokori wo kaketa geemu
Umareta toki kara tanoshinderu sukearii koosutaa
Da-lu-la　Da-lu-la　Da-lu-la

Nai mono nedari no shinderera　　Wendi tachi wa piitaa wo wasureta
Ah Hiito airando wa hakuchuumu
Dareka no nichijou ni nante mattaku kyoumi wa nai no sa
Da-lu-la　Da-lu-la　Da-lu-la

　Genshi no rizumu ni mi wo makase　　Koibito tachi wa toke ochiteku

Holly Noise　Ima wo　Dakishime nagara
Holly Noise　Koko de　Ukarete itai

Seinaru noizu wa shitsugaiki　　Yokubou wa itsumo riaru taimu
Toroketa taiyou wo nomihose　　Midara na yousei tachi ga odotte kureru sa
Da-lu-la　Da-lu-la　Da-lu-la

Romio wa jurietto wo sagasu　Jerii wa tomu ni koi wo suru
Risei ga himei wo ageta nara
Kotoba wa itsumo kanashii iiwake　Poizun masshuruumu
Da-lu-la　Da-lu-la　Da-lu-la

　Genshi no biito ni izanaware　Koibito tachi wa hitotsu ni naru

Holly Noise　Ima wo　Dakishime nagara
Holly Noise　Koko de　Tadayotte itai

Saboten kajitta saiko rizaado no tauchi mawaru　Shiriaru kiraa ga waratteta
Sadisutikku na boukansha tachi
Kodoku to chinmoku　Osoreru kodomo wa nigedashita

　Genshi no biito ni ayatsurare　　Koibito tachi wa eien ni naru

Holly Noise　Kimi to　Tadayotte itai
Holly Noise　Kimi to　Hiito airando no hakuchuumu
Holly Noise　Kimi to　Ukarete itai
Holly Noise　Kimi to　Hiito airando no hakuchuumu
Holly Noise　Holly Noise

English

 

 

BUCK-TICK | [23 Jul 2023] Ongaku to Hito: BUCK-TICK’s 異空 -IZORA- Tour Final — Concert Report

Posted on by Yoshiyuki

BUCK-TICK’s 異空 -IZORA- Tour Final,
a magnificent show complete

Ongaku to Hito
23 July 2023

text by Ishii Eriko
photos by Seitaro Tanaka

 

【LIVE REPORT】
〈BUCK-TICK TOUR 2023 異空-IZORA-〉
2023.7.23 at Tokyo Garden Theatre

 

 

I watched the closing show of the masterpiece tour, BUCK-TICK TOUR 2023 異空-IZORA-. The previous time I saw them was on 19 April, at their Hachioji show so in short, of this19-show tour which visits a total of 17 locations, I’m only watching the first and last concert dates. I don’t know what happened along the way, what trials and errors and adjustments they made. But what I know for sure is that the first show and the last looked very different from each other. And that’s despite no changes with the videos and graphics projected on the screen, and the set list being more or less the same.

If I had to say, it’s so different that it’s as good as “a concert unveiling of a new show” versus “a theatre show”. If the purpose of a tour is to play their new songs live, then I think that’s something they have perfectly executed since day one. The 14-track long 異空 -IZORA- album underwent a reinterpretation in the two-hour-long concert.

They connected new songs to old; lining up the intense Showa-era flavoured song, THE SEASIDE STORY next to the distinctive city-pop song Mugen LOOP -LEAP-, and bringing in Jonathan Jet-Coaster right before the highlight of the main show Taiyou to Icarus with both songs sharing a similar theme. As written in my report of the first day, the band is capable of showcasing their work in this format precisely because they’ve kept going for 35 years and innovating throughout this time.

On top of that, what else changed to turn a “concert” into “theatre”? The issue of familiarity is of course one; the five members breathing as one, their bodies gradually growing more and more accustomed to the new songs. But what stood out above all of that was Sakurai Atsushi’s power of expression and performance.

Like Sayonara Shelter in the first half. This song was born from the imaginings of present-day Ukraine, and with each iteration on this tour, the performance of it turned into theatre. Sakurai cradles a small child, escapes to a safe place, dodging bullets as they fly past before returning fire himself with a gun in hand; these scenes captivate the audience as he sings.

Unlike a choreographed performance, he had, in short, fully immersed himself in it. The fear that one day the mic stand he holds at the end would look like an actual rifle seeps in. With the way the performance is executed, the pale moonlight shining from the screen in the back becomes more than a mere visual effect and somehow turns into an essential backdrop. Therein lies the difference between a simple performance and a dramatisation.

The next song which followed was Campanella  Hanataba wo Kimi ni, and coming right before it was a short monologue where he said, “Father, mother, it’s going to rain tonight again. Sparkly gold rain is……” His words bring forth the image of bombs flying between Ukraine and Russia. Would the audience have been just as taken aback and drawn to the scenes on stage if he instead said, “With love from the far east, please listen to this song.”? 

He performs wholeheartedly, turning one reality into a beautiful dream, swallowing both fact and fiction to turn them into one story. The singer who has surpassed the song ruled over the stage.

And there was Boogie Woogie in the midst of it all. On the first day of the tour, in the MC right before the song which sums up their pre-debut life, Sakurai said they’re “recreating a story from 35 years ago”. But now, on this final day of their tour, he changed his words to the following.

“How long can we keep going…… I wonder, how long can we keep going?　Until death?　No, even after death. We will do this even when we turn into ghosts. They are waiting!　They are waiting!”

That was the moment a nostalgic song of the past became a song of the neverending future. Because no matter how far they run, no matter the city they head for, we (= they) who eagerly await them will never disappear. “Boogie woogie!　Shoo-be-doo-ba!” These symbolic lyrics resound like an important chant.

This irreplaceable worldview will remain and persist even after the physical body has disappeared and turned into a soul. A man, who in an interview immediately after the album’s completion, said that he was still struggling, that it was hard to live, and that he was as depressed as ever, was the one to make such a powerful declaration.

I don’t think there’s any doubt that this tour is what made Sakurai talk about the future. There were a number of instances when I wondered whether the album, 異空 -IZORA- was really that positive a creation to begin with. Even though there are songs about loneliness and war, the beauty and sacredness of what they have accomplished are carried forth through his sombre and earnest performances. I believe catharsis would also come about amidst this.

The highlight of the main show was Taiyou to Icarus, where the protagonist rushes through to face death head-on. During this performance, Sakurai faced the radiant screen with outstretched arms. The sanctity of his silhouette remains unforgettable even now.

Four songs were played in the encore with old songs interspersed, once again leading us into the world of 異空 -IZORA-. Even though he’s only putting on makeup and dressing the way he likes, the faceless people all around are laughing. Even if such is the confession of the protagonist Hizumi who has no way out, it all slowly gets cleansed away at the end with Na mo Naki Watashi.

A single stalk of a white flower on screen. Midway through, it quietly starts to sway. The moment Sakurai pulls his outfit across his shoulder with a big swish, a blizzard of brightly coloured flowers rained down on the stage. Come to think of it, this move was not present in the first show. With this so-called visual effect showing perfect synchrony with the performer’s gestures, the magnificent show was made complete. It’s so beautiful that it left me speechless. This is the difference between the start and the goal. The difference between a “concert” and a “show”.

And just like this, they continued their way through their 35th anniversary year. The closing day is finally approaching. According to the extra news pamphlet which was distributed after the concert, BUCK-TICK TOUR 2023 異空-IZORA- FINALO will be held at Gunma Music Centre on 17 and 18 September.

The world of their new album evolved so much in the course of just one tour. While BUCK-TICK still continues to evolve on stage even now. I can only wonder what their final form will look like.

 

_____________________________________________________________________________

 

NEW ALBUM『異空 -IZORA-』
2023.04.12 RELEASE

■ Limited Edition Version A / B (Blu-ray / DVD)
■ Regular Edition
■ Limited Edition LP Version
■ Limited Edition Cassette Tape

Album cover of 異空 -IZORA-, BUCK-TICK
異空 -IZORA- | Album

〈CD〉※Same for both Limited and Regular editions
01 QUANTUM Ⅰ
02 SCARECROW
03 Warukyuure no Kikou
04 Sayonara Shelter ー destroy and regenerate-Mix
05 Ai no Harem
06 Campanella  Hanataba wo Kimi ni
07 THE FALLING DOWN
08 Taiyou to Icarus
09 Boogie Woogie
10 Mugen LOOP -IZORA-
11 Noraneko Blue
12 Hizumi
13 Na mo Naki Watashi
14 QUANTUM Ⅱ

〈Blu-ray／DVD〉　※Limited edition only
・Taiyou to Icarus MUSIC VIDEO
・Mugen LOOP MUSIC VIDEO

_____________________________________________________________________________

 

〈BUCK-TICK TOUR 2023 異空-IZORA-〉

Friday, 1 September 2023 — Nippon Tokushu Tougyou Shimin Kaikan, Forest Hall (ex. Nagoya Civil Hall) ※Substitute

 

〈BUCK-TICK TOUR 2023 異空-IZORA- FINALO〉

Sunday, 17 September 2023 — Gunma Music Center
Monday (holiday), 18 September 2023 — Gunma Music Center

 

〈BUCK-TICK TOUR 2023 異空-IZORA- ALTERNATIVE SUN〉

Friday, 20 October 2023 — KT Zepp Yokohama
Thursday, 26 October 2023 — Zepp Nagoya
Saturday, 28 October 2023 — Zepp Fukuoka
Saturday, 4 November 2023 — Zepp Osaka Bayside
Sunday, 12 November 2023 — Zepp Sapporo
Sunday, 19 November 2023 — ToyosuPIT
Saturday, 2 December 2023 — Sendai GIGS
Saturday, 9 December 2023 — Zepp Haneda

 

BUCK-TICK Official Website

 

 

 

Translation: Yoshiyuki
Source: Ongaku to Hito

 

BUCK-TICK | [25 Apr 2023] Ongaku to Hito: BUCK-TICK’s 異空-IZORA- Album Tour Begins — Concert Report

Posted on by Yoshiyuki

BUCK-TICK’s 異空-IZORA- Album Tour Begins
An optimistic vitality on opening day

Ongaku to Hito
25 April 2023

text by Ishii Eriko
photos by Seitaro Tanaka

 

【LIVE REPORT】
〈BUCK-TICK TOUR 2023 異空-IZORA-〉
2023.04.19 at J:COM Hall Hachioji

 

 

 

“BUCK-TICK TOUR 2023 異空-IZORA-”. I got to watch the first day of this simply titled journey. From start to the very end, it truly was the world of 異空 -IZORA-.

It might be obvious. For 35 years, the band has continued to enchant us with a worldview based off their latest album whenever they release one. It’s not unusual that they would perform all of their new songs, including the instrumental pieces. But I was shocked to find that they stick to the typical style of doing all of that in the main part of the show and then bring on a bit of a festive mood with some past favourites in the encore. It was the world of 異空 -IZORA- through and through, from start to end. I was once again reminded of their confidence and commitment to this masterpiece.

It would be misleading to simply describe it as “dark” but 異空 -IZORA- is an album made heavy by reality. That’s mainly due to Sakurai Atsushi’s mental state which gets redirected into a variety of stories telling of narratives like war, children being sacrificed, even the band’s personal presentiment of an end looming over them, the feeling of being trapped with nowhere to run, and other similar themes. When these are the things that get verbalised in all the songs, it is probably inevitable that [the album would] steadily grow heavier, more serious. But despite this, the concert depicting the world of 異空 -IZORA- was definitely not a sombre one at all.

I have to refrain from naming specific songs, but new songs were connected to old songs to bring out a different nuance from the album. The magic of such song selection was truly magnificent. Their single, Mugen LOOP -LEAP- was paired with a fantastical love song from recent years to create the atmosphere of popular Showa-era songs which transcends time and space. Similarly, their other single, Taiyou to Icarus was sandwiched between a rock’n’roll track we haven’t heard in a while and a nostalgic song that was released in the 90s, starting up yet another different story to tell. Singing of imminent death in Taiyou to Icarus, Sakurai does not break that storyline but instead continues it by depicting the healing, comforting, and salvation of souls in the afterward.

Past experiences complement the present; I believe Boogie Woogie makes for the best example of that. This rock song which Sakurai describes as “a story from over 35 years ago recreated using the latest technology” takes us on a journey looking back at BUCK-TICK’s history of moving from city to city and stepping up on stage once night fell.

The five members of the band are usually all over the place [in terms of dressing], but on this day, Imai Hisashi and Hoshino Hidehiko wore somewhat similar outfits, creating a kind of symmetry with Sakurai in the middle which looked great. The brothers Yagami & Higuchi standing firm in the back, the two guitarists with different music styles, and the charismatic vocalist. It’s late for me to realise now, but this is what harmony looks like.

Imai now stands on stage without the need of a cane, kicking his legs everywhere without restraint. As we headed towards the end, what I really wanted to remember and take note of was the glory of Sakurai’s story-telling ability as he blooms madly in profusion alongside Imai’s guitar solo warping space and time.

This is the power of a band who has kept going and renewing themselves throughout this time. The same members have the same shared times together and kept creating with a trajectory towards the latest album. The overall structure remains intact even when songs from 30 years ago are lined up alongside their latest tracks. Or rather, whatever they’ve done thus far appears to complement the present, so much so that it makes me feel as if the old songs might’ve been put there to make the new songs shine even brighter.

There is no doubt that the heaviness in 異空 -IZORA- is definitely something that came about from facing reality, but thanks to past songs and their level of experience, they managed to maintain the balance even now, without letting things get too serious. There were a number of instances where it looked as if the members of the band themselves were aware of this too.

What made such a show even more exciting was the voice of the audience. Masks are still mandatory. But cheering is now allowed and we could see from the member’s expressions how much morale it gives them. Thunderous applause, everyone singing along to the melody of the chorus, the various calls of “Accha~n!” “Imai-sa~n!” that could be heard between songs. In the past, this could’ve been thought of as something that would ruin their pitch-black world, but hearing this for the first time in three years, I now realise that it is really a reassuring courage, or rather, nothing but a show of support for the band.

I believe the reason why they are capable of so unapologetically releasing an album like 異空 -IZORA- is because of their past of continuity, and in a similar sense, because they have so many fans. War, death, trauma, distortions…… With these words, it sounds like an album close to despair, but these were turned into works of art, stories that could only become a form of entertainment because they have fans who are capable of digesting it. Maybe that is something they came to realise because COVID-19 happened. Even as we tremble at the prospect of an imminent end, nevertheless, BUCK-TICK continues on with certainty. An optimistic, forward-looking vitality. This was the only thing I felt with the start of this tour.

 

_____________________________________________________________________________

 

〈BUCK-TICK TOUR 2023 異空-IZORA-〉

Saturday, 13 May 2023 — High Staff Hall, large hall (Kanonji City Meeting Hall)

Sunday, 14 May 2023 — Kurashiki City Auditorium

Saturday, 20 May 2023 — ROHM Theatre Kyoto, main hall

Sunday, 21 May 2023 — Kobe Kokusai Kaikan Kokusai Hall

Saturday, 27 May 2023 — Pacifico Yokohama National Convention Hall

Saturday, 3 June 2023 — Japan Special Ceramic Industry Civic Center, Forest Hall (ex. Nagoya Civic Hall)

Saturday, 10 June 2023 — Hondanomori Hall

Sunday, 11 June 2023 — Nagano City Arts Center, main hall

Saturday, 17 June 2023 — Orix Theater (ex. Osaka Welfare Pension Hall)

Sunday, 18 June 2023 — Orix Theater (ex. Osaka Welfare Pension Hall)

Saturday, 24 June 2023 — Ueno Gakuen Hall (Hiroshima Prefectural Culture and Arts Hall)

Sunday, 25 June 2023 — Fukuoka Sunpalace Hotel & Hall

Saturday, 1 July 2023 — Sapporo Kanamoto Hall (Sapporo Civic Hall)

Sunday, 9 July 2023 — Sendai Sun Plaza Hall

Saturday, 15 July 2023 — Takasaki City Theatre, large theatre

Monday (holiday), 17 July 2023 — Shizuoka City Culture Hall, large hall

Saturday, 22 July 2023 — Tokyo Garden Theatre

Sunday, 23 July 2023 — Tokyo Garden Theatre

 

BUCK-TICK Official Website

 

 

 

Translation: Yoshiyuki
Source: Ongaku to Hito