Hoshi To Hana Lyrics – Professional Translated with background

What do the Hoshi to Hana Lyrics Mean?

The lyrics to the theme song to anime Yuki Yuna is a Hero (結城友奈は勇者である – Yūki Yūna wa Yūsha de Aru) was written by lyricist Kanata Nakamura. 

Hoshi To Hana means “Stars and Flowers” and contrasts the world above (星 Hoshi) and our terrestrial world (花 hana). 

The song is dominated by floral imagery in the first half, and by stellar imagery in the second. 

One interpretation of the song is to see it as a conversation between the sky and the ground, or between beings inhabiting each of these realms. There is a tradition of songs between people from different worlds, such as Tom Waits’ Bird and Whale about love between creatures of the air and sea.

There is a strong suggestion in the first half, at least, of Hoshi to Hana that the flowers are being sung to:

静けき森の中 いま目覚めた花たちよ

Oh you flowers, who awaken in the quiet forest

And in lines like:

咲き誇れ(咲き誇れ) 想いのままに

Bloom in all your grandeur, without a second thought

From the 2nd half of the song we get frequent references to light and shining in lines like: 

輝けよ(輝けよ) 眩いほどに

Shine out, to the point of bedazzlement

And 

(ヒカリを)ヒカリまとって走れ

Clad in Light, run.

It as if the focus has shifted from the earth to the heavens.

How does Hoshi to Hana relate to Yuki Yuna is a Hero?

One interpretation of the song is that the song is written from the perspective of the Shinju (神樹, “Divine Tree”) of the anime series, singing to the heroes (勇者 Yusha) from the Hero Club. In this reading of the song, the Divine Tree takes the perspective of the Stars, looking at the Flowers, urging them first to bloom, and then to shine.

This perspective is reinforced by way the lyrics imply that whoever is being sung to is immortal:

いかなる時も生きて

In every era, live.

Other interpretations of the song see it as being about the Vertex and the heroes, although this interpretation is harder to pull out specific lines to support. In this reading the Hoshi (Stars) represents the “Vertex,” and Hana (flowers) represent Tomona and friends.

Who wrote and Recorded Hoshi to Hana?

Lyrics: Kanata Nakamura

Music composed and arranged by: Tetsuichi Okabe (MONACA)

Singers: Sung by the cast who play the “Sanshu Junior High School Hero Club”. 

Haruka Terui 

Suzuko Mimori 

Yumi Uchiyama 

Tomoyo Kurosawa 

Juri Nagatsuma

“Yuki Yuna is a hero” is a Japanese novel series written by Takahiro and illustrated by BUNBUN.

Information about Yuki Yuna is a Hero

Yuki Yuna is a Hero is an anime series which was released in 2014. 

A 12-episode anime adaptation aired between October 4 and December 28, 2014 on MBS TV’s “Animeism” programming block; episodes were directed by Takaomi Kanasaki and animated by Studio Gokumi

The show follows the life of three middle school friends – Mimori Kizuki, Fu Inubozaki and Itsuki Inubozaki – who are chosen by the Shinju-sama, Divine Tree, to fight against the flood of dark creatures known as “Vertex”.

The story begins with Fu’s sister, Kanna, being captured by a Vertex. The following day, when Fu arrives to meet up with Yuna and Itsuki at their usual meeting spot near the train station, they find that she has been taken by Vertexes. The two friends quickly find themselves defending Kanna from Vertexes attacking her. 

The story revolves around the title character, Yuki Yuna. The story’s protagonist, she is one of the “Hero Club” members at middle school who spends her days solving problems in her town.

Where Was Hoshi to Hana used?

Hoshi to Hana was used as the opening theme song of all 12 episodes of the televised anime, and as the ending theme to episode 1. It was also used as the opening song in part two of the omnibus “Hidamari”.

Hoshi to Hana Lyrics in Japanese, Romaji & Professionally Translated English

ホシトハナ Hoshi to Hana Lyrics In Japaneseホシトハナ Hoshi to Hana Lyrics In Romajiホシトハナ Hoshi to Hana Lyrics In English
サカラバ サア
静けき森の中 いま目覚めた花たちよ
この世に何を思い 何を感じてる
ああ 真実ほど人を魅了するものはないけど
ああ 真実ほど人に残酷なものもないのだろう
咲き誇れ(咲き誇れ) 想いのままに
この瞬間(この瞬間) 全てを賭けて
無限の星すらも霞むように
勇気 心に溢れ
(いかなる)いかなる時も生きて
花びらひとひらに 情熱宿しはじめた
瞬くその瞳 何を映してる
ああ 土に埋めた小さな種 密やかに割れて
ああ 芽を出したらやがて空と向かい合っていくのだろう
輝けよ(輝けよ) 眩いほどに
一瞬に(一瞬に) 思いを込めて
その願いが世界を導く
カラダに力満ちて
(ヒカリを)ヒカリまとって走れ
咲き誇れ 想いのままに
この瞬間 全てを賭けて
無限の星すらも霞むように
勇気 心に溢れ
輝けよ(輝けよ) 眩いほどに
一瞬に(一瞬に) 思いを込めて
その願いが世界を導く
カラダに力満ちて
(ヒカリを)ヒカリまとって走れ
サカラバ サア
saka raba sā
seike ki mori no naka ima mezameta hanatachiyo
konoyo ni nani o omoi nani o kanjiteru
ā shinjitsu hodo hito o miryō suru mono hanaikedo
ā shinjitsu hodo hito ni zankokuna mono mo nai nodarō
sakihokore ( sakihokore ) omoi no mama ni
kono shunkan ( kono shunkan ) subete o kakete
mugen no hoshi sura mo kasumu yō ni
yūkishin ni afure
( ikanaru ) ikanaru toki mo ikite
hanabira hito hirani jōnetsu yadoshihajimeta
mabataku sono hitomi nani o utsushiteru
ā do ni umeta chīsana tane hisoyaka ni warete
ā me o dashitara yagate sora to mukaiatteiku nodarō
kagayakeyo ( kagayakeyo ) mabayui hodo ni
isshun ni ( isshun ni ) omoi o komete
sono negai ga sekai o michibiku
karada ni chikara michite
( hikari o ) hikari matotte hashire
sakihokore omoi no mama ni
kono shunkan subete o kakete
mugen no hoshi sura mo kasumu yō ni
yūkishin ni afure
kagayakeyo ( kagayakeyo ) mabayui hodo ni
isshun ni ( isshun ni ) omoi o komete
sono negai ga sekai o michibiku
karada ni chikara michite
( hikari o ) hikari matotte hashire
saka raba sā
Oh you flowers, who awaken in the quiet forest
What do you think about, what do you feel in this world?
Oh, there is nothing in this world that mesmerizes us like the truth
And there is nothing in this world so cruel to us either
Bloom in all your grandeur, without a second thought
Bet everything on this moment
Clouding out even the infinitesimal stars 
Let your heart overflow with courage

In every era, live
A passion has come to lodge in a single petal
In the blinking eye, what is reflected?

Oh, little seed hidden in the soil, crack.
Oh, as you put forth your buds, surely you will come to be face to face with the sky
Shine out, to the point of bedazzlement
Put every thought into the instant
And your wish will guide the world
With a body full of force
Clad in Light, run.
Bloom in all your grandeur, without a second thought

Bet everything on this moment
As even the infinitesimal stars that cloud the sky do
Let your heart overflow with courage

Shine out, to the point of bedazzlement
Put every thought into the instant
And your wish will guide the world
With a body full of force
Clad in Light, run.

.

Hoshi to Hana Lyrics Line by Line

サカラバ サア

静けき森の中 いま目覚めた花たちよ

Oh you flowers, who awaken in the quiet forest

この世に何を思い 何を感じてる

What do you think about, what do you feel in this world?

ああ 真実ほど人を魅了するものはないけど

Oh, there is nothing in this world that mesmerizes us like the truth

ああ 真実ほど人に残酷なものもないのだろう

And there is nothing in this world so cruel to us either

咲き誇れ(咲き誇れ) 想いのままに

Bloom in all your grandeur, without a second thought

この瞬間(この瞬間) 全てを賭けて

Bet everything on this moment

無限の星すらも霞むように

Clouding out even the infinitesimal stars 

勇気 心に溢れ

Let your heart overflow with courage

(いかなる)いかなる時も生きて

In every era, live

花びらひとひらに 情熱宿しはじめた

A passion has come to lodge in a single petal

瞬くその瞳 何を映してる

In the blinking eye, what is reflected?

ああ 土に埋めた小さな種 密やかに割れて

Oh, little seed hidden in the soil, crack.

ああ 芽を出したらやがて空と向かい合っていくのだろう

Oh, as you put forth your buds, surely you will come to be face to face with the sky

輝けよ(輝けよ) 眩いほどに

Shine out, to the point of bedazzlement

一瞬に(一瞬に) 思いを込めて

Put every thought into the instant

その願いが世界を導く

And your wish will guide the world

カラダに力満ちて

With a body full of force

(ヒカリを)ヒカリまとって走れ

Clad in Light, run.

咲き誇れ 想いのままに

Bloom in all your grandeur, without a second thought

Bet everything on this moment

無限の星すらも霞むように

As even the infinitesimal stars that cloud the sky do

勇気 心に溢れ

Let your heart overflow with courage

輝けよ(輝けよ) 眩いほどに

Shine out, to the point of bedazzlement

一瞬に(一瞬に) 思いを込めて

Put every thought into the instant

その願いが世界を導く

And your wish will guide the world

カラダに力満ちて

With a body full of force

(ヒカリを)ヒカリまとって走れ

Clad in Light, run.

サカラバ サア


You can see more lyrics on the Japanoscope Japanese Lyrics page.

Who is behind this site?

I’m Peter Joseph Head. I lived in Japan for four years as a student at Kyoto City University of the Arts doing a Masters Degree, have toured the country six times playing music and speak Japanese (JLPT N1). I’ve written songs in Japanese and have released several albums through Tokyo label Majikick Records. You can hear my music at my bandcamp page:

ピータージョセフヘッドです。4年間京都市立芸大の大学院として日本に住み、6回日本で音楽ツアーをし、日本語能力試験で1級を取得しました。要するに日本好きです。

僕の音楽はBandcampで聞けます。

アインシュタインよりディアナ・アグロン Einstein Yori Dianna Agron (Forgot about Einstein, How about Dianna Agron) lyrics

Einstein yori dianna agron was released as one of the added extra “coupling” songs to idol group HKT48’s 2016 single 74億分の1の君へ 74 Okubun no 1 no Kimi e (To you, who are one in 7.4 billion).

 74 Okubun no 1 no Kimi e debuted at number one on the Oricon CD singles chart in April 2016. But the accompanying song, Einstein Yori Dianna Agron, has received widespread criticism for its unabashed sexist portrayal of the song’s female protagonist as a vacuous airhead. Japanese online publishers that have lined up to call out the lyrics have included Litera, Toyokeizai and Keisen University. AKB administration seems not too enamoured with the criticism either, threatening legal action against the Litera blog site for posting an article outlining why they believe the lyrics were sexist.

Who wrote Einstein Yori Dianna Agron?

The words to Einstein Yori Dianna Agron were written by AKB48 founder, lyricist and mastermind Yasushi Akimoto. Akimoto has a history of writing songs with questionable portrayals of women stretching back to at least the 80s with songs like Sailor Fuku Wo Nugasanai de (please don’t take off my sailor uniform)

He has continued penning decidedly un-woke women’s roles for his songs right up until 2021 with songs such as Kimi Ni Shikarareta.

So what’s the big problem with the Einstein Yori Dianna Agron lyrics?

In the post #metoo age, the glaring problems with the Einstein Yori Dianna Agron will be self-apparent to many who cast their eye over them.  The song doesn’t waste any time in setting out it’s worldview of girls’ place within society:

難しいことは何も考えない

頭らっぽでいい

Don’t try and think of anything demanding

Being empty-headed is just fine

By line three, the song is holding the women in a barely veiled contempt, giving them a little passive-aggressive praise for managing to “walk on two legs”, presumably comparing them to quadrupeds:

二足歩行が楽だし

There’s enough comfort in just bipedal walking,

The song also does a good job of reinforcing long standing stereotypes about what a girl should look like:

女の子は

可愛くなきゃね

Girls, 

They’ve got to be pretty, right?

The song makes clear that the young female student shouldn’t be concentrating on learning:

学生時代は

おバカでいい

When you’re a student,

It’s best to be dumb

The song has also been criticized for its appropriation of the American show Glee, which features a diverse cast that aims to break down the very stereotypes that Einstein Yori Dianna Agron seeks to perpetuate. Dianna Agron’s character in the show, far from spurning all academic pursuits, achieves success by writing an essay that gets her an invitation to study at a prestigious University. 

If nothing else, the lyrics to Einstein Yori Dianna Agron show how far Japan has to go towards achieving a true sense of equality between the sexes.

アインシュタインよりディアナ・アグロン Einstein Yori Dianna Agron (Forgot about Einstein, How about Dianna Agron) lyrics in Japaneseアインシュタインよりディアナ・アグロン Einstein Yori Dianna Agron (Forgot about Einstein, How about Dianna Agron) lyrics in Englishアインシュタインよりディアナ・アグロン Einstein Yori Dianna Agron (Forgot about Einstein, How about Dianna Agron) lyrics in Romaji
難しいことは何も考えない頭らっぽでいい二足歩行が楽だしふわり軽く風船みたいに生きたいんだ

女の子は可愛くなきゃね学生時代はおバカでいい今 一番 大切なことは そうキャピキャピと

アインシュタインよりディアナ・アグロンテストの点以上瞳(め)の大きさが気になるどんなに勉強できても愛されなきゃ意味がないスカートをひらひらとさせてグリーのように

世の中のジョーシキ 何も知らなくてもメイク上手ならいいニュースなんか興味ないしたいていのこと誰かに助けてもらえばいい

女の子は恋が仕事よママになるまで子供でいいそれよりも重要なことは そうスベスベのお肌を保つことでしょう?

アインシュタインってどんな人だっけ?聞いたことあるけど本当はよく知らない教科書 載っていたようななんか偉い人だった好きなのはディアナ・アグロン

もっともっともっと輝きたい人は見た目が肝心だってだって内面は見えない可愛いは正義よチヤホヤされたいアインシュタインよりディアナ・アグロン

テストの点以上瞳(め)の大きさが気になるどんなに勉強できても愛されなきゃ意味がないスカートをひらひらとさせてグリーのように
Don’t try and think of anything demanding
Being empty-headed is just fine
There’s enough comfort in just bipedal walking,
Soft and gentle
I want to live my life like a balloon

Girls, They’ve got to be pretty, right?
When you’re a student,
It’s best to be dumb
The thing that matters most for the time Is to be bubbly
Forgot about Einstein
How about Dianna Agron
I’m more worried about the size of my eyes
Than the marks on my exam
It doesn’t matter how much you study
If nobody loves you
Like the fluttering skirts in Glee

You don’t need to know anything about common knowledge
You just have to be good at doing make-up
I couldn’t give a damn about the news
Whatever happens,
Someone or other will come to your rescue

Love, is a woman’s job
Until you’re a mum,
Just stay a child
Instead of all that
You should just have to make sure you have nice skin

Who was Einstein again?
I think I’ve heard of him
I don’t really know
He was, like, some great dude
In some textbook
But I like Dianna Agron
I want to sparkle
More and more
The way you look to others is important
Because, you know,
What is inside can’t be seen
Cuteness is righteousness!
I want to be pampered

Less like EinsteinThan Dianna Agron
I’m more worried about the size of my eyes
Than the score on my test
It doesn’t matter how much you study
If nobody loves you
Like the fluttering skirts in Glee
muzukashī koto wa nani mo kangaenaiatamara ppode īni soku hokō ga rakudashifuwari karukufūsen mitai ni ikitai nda

onnanoko wakawaikunakyanegakusei jidai wao bakade īkon ichiban taisetsuna koto wa sōkyapikyapi to

ainshutain yoridiana agurontesuto no ten ijōhitomi me ) no ōki sa ga ki ni narudonnani benkyō dekite moaisarenakya imi ga naisukāto o hirahira to sasetegurī no yō ni

yononaka no jō shiki nani mo shiranakute momeiku jōzunara īnyūsu nanka kyōmi naishitaitei no kotodare ka ni tasuketemoraeba ī

onnanoko wakoi ga shigotoyomama ni naru madekodomode īsore yori mo jūyōna koto wa sōsubesube noo hada o tamotsu kotodeshō ?

ainshutain ttedonna hitodakke ?kīta koto arukedohontōha yoku shiranaikyōkasho notteita yōnananka erai hitodattasukina no wa diana aguron

motto motto mottokagayakitaihito wa mitame ga kanjindatte dattenaimen wa mienaikawaī wa seigiyochiya hoya saretaiainshutain yoridiana aguron

tesuto no ten ijōhitomi me ) no ōki sa ga ki ni narudonnani benkyō dekite moaisarenakya imi ga naisukāto o hirahira to sasetegurī no yō ni

Who Are HKT48?

HKT48 is a Japanese idol girl group from Japan. THe “HKT” comes from Hakata-ku, an area in the city of Fukuoka. The group was founded in 2011 as the sister group of AKB48 and has its team center in Fukuoka, in the southern Kyushu island of Japan.

The members are divided into 3 teams: Team H, KII, and TIV – with each team representing one letter of the group’s name.

The group is a franchise of the “48” groups of girl groups with many members, originally created by Yasushi Akimoto. The group currently consists of 26 members:

Nana Okada, Shizuka Oya, Ayaka Uchida, Yuna Egozi, Hina Kawaei, Sakura Miyawaki, Rino Sashihara, Karen Iwata, Mina Oba, Mai Shiraishi, Maho Tomita, Kanna Hashimoto,Yuri Nakano.

Who is behind this site?

I’m Peter Joseph Head. I lived in Japan for four years as a student at Kyoto City University of the Arts doing a Masters Degree, have toured the country six times playing music and speak Japanese (JLPT N1). I’ve written songs in Japanese and have released several albums through Tokyo label Majikick Records. You can hear my music at my bandcamp page:

ピータージョセフヘッドです。4年間京都市立芸大の大学院として日本に住み、6回日本で音楽ツアーをし、日本語能力試験で1級を取得しました。要するに日本好きです。

僕の音楽はBandcampで聞けます。

セーラー服を脱がさないで sailor fuku wo nugasanaide (don’t take off my sailor-style school uniform) lyrics & background

Sailor Fuku Wo Nugasanaide Front Single Cover
Sailor Fuku Wo Nugasanaide Front Single Cover

The song Sailor Fuku Wo Nugasanaide, sung by Onyanko Club, represented a new stage in the evolution of the Japanese idol group. It was an early iteration of the large-number-of-young girls concept, engineered by producers such as Yasushi Akimoto, that would ultimately lead to the AKB48 and 48 franchise groups.

Who Are Onyanko Club?

Onyanko Club was a 14-member girl group that appeared as part of a popular evening TV show. The show was called 夕やけニャンニャン Yuyake Nyan Nyan and was a Fuji Terebi television program that aired every weekday between five and six pm, between the years 1985-1987.

The show had a segment called アイドルを探せ (Idol Search!). High school girls would audition. If they passed they could be part of the group that would be featured on the show. The group took their name from the name of the show and became Onyanko Club.

Sailor Fuku Wo Nugasanaide Back Single Cover "Hayasugiru Sedai"
Sailor Fuku Wo Nugasanaide Back Single Cover “Hayasugiru Sedai”

What does the name Onyanko Club mean?

Onyanko is a cute name for “cat” or “pussycat” in Japanese. “Nyan” is equivalent to the word “meow” and is the sound a cat makes. So the name could be translated as something like “The Meow-Girls Club”.

About the show 夕やけニャンニャン Yuyake Nyan Nyan

An episode of Yuyake Nyan Nyan

Yuyake Nyan Nyan grew out of another pre-existing Fuji Terebi program called オールナイトフジ (All Night Fuji). This show was a live-to-air, late night television show that featured female university students singing, dancing, often in a fairly sexually explicit way, mixed variety and comedy entertainment. 

In 1985, All Night Fuji show did a special feature called 『オールナイトフジ女子高生スペシャル』All Night Fuji High School Girls Special. The program was aimed at school aged boys and proved to be successful enough to spawn a stand alone program.

The Significance of Yuyake Nyan Nyan, All Night Fuji and Onyanko Club

The opening of an episode of All Night Fuji

All Night Fuji had turned female university students into fetish in Japan. With the creation of Yuyake Nyan Nyan, this fetishism was turned towards an even younger age group, the High school girl. In this way, Yuyake Nyan Nyan, and Onyanko Club, contributed greatly to the outrageously fetishsed image of the Jyoshi kosei (JK) image of the high school girl which remains popular to this day.

About セーラー服を脱がさないで sailor fuku wo nugasanaide (don’t take off my sailor-style school uniform)

Onyanko Club performing Sailor Fuku Wo Nugasanaide on Japanese TV

The lyrics to Sailor fuku wo nugasanai de were written by Yasushi Akimoto, who would later become the producer mastermind behind AKB48 and the 48 franchise of mega-girl-groups. We’ve done a post, youtube & podcast about Yasushi Akimoto’s lyrics here.

It expresses a school-age girl’s blossoming, but uncertain and conflicted, desire to explore her sexuality.  The song opens with the protagonist exhorting a potential lover not to undress her – at least for the time being.

セーラー服を脱がさないで

今はダメよ 我慢なさって

セーラー服を脱がさないで

嫌よダメよ こんなところじゃ

Don’t take off my sailor-style school uniform

Not now! Please be patient

Don’t take off my sailor-style school uniform

I don’t want you to, no, not in a place like this

But by the third stanza of the song, we see the protagonist making something of an about face to express an unabashed desire to have sex:

友達より早く

エッチをしたいけど

キスから先に進めない

憶病すぎるの

I want to have sex

Before my friends do

But I’m just so timid

That I find it hard to get past kissing

But even here, there is some ambiguity in the use of the word エッチ ecchi.

エッチecchi can mean sex. But it can also mean “fooling around” or “playing” in a sexual way. 

Further, it has been argued that in 1985 the term エッチ ecchi, which is a Japanisation of the English letter “H”, was even more ambiguous term at the time. Indeed, this song seems to have lodged it further in the public consciousness as a word that fairly explicitly refers to intercourse.

Either way, it is fairly clear that the song is about a young girl’s sexual urges being expressed in the context of her innocence and larger social context.

The fact that the song is written by a male much older than the imagined protagonist, to be used on a show that revelled in the fetishisation of the school girl, make the lyrics uncomfortable in the post #metoo era. 

Sailor Fuku Wo Nugasanaide Lyrics in Japanese and English

セーラー服を脱がさないで sailor fuku wo nugasanaide Japanese lyricsセーラー服を脱がさないで sailor fuku wo nugasanaide lyrics in Englishセーラー服を脱がさないで sailor fuku wo nugasanaide Romaji lyrics
セーラー服を脱がさないで今はダメよ 我慢なさってセーラー服を脱がさないで嫌よダメよ こんなところじゃ

女の子は いつでも“MI・MI・DO・SHI・MA”お勉強してるのよAh- 毎日

友達より早くエッチをしたいけどキスから先に進めない憶病すぎるの

週刊誌みたいなエッチをしたいけど全てをあげてしまうのはもったいないから…あげない

セーラー服を脱がさないでスカートまで まくれちゃうでしょセーラー服を脱がさないで胸のリボン ほどかないでね

男の子はその時どうなるの?興味津々 しちゃうのよAh- 不思議ね

デートに誘われてバージンじゃ つまらないパパやママは知らないの明日の外泊

ちょっぴり恐いけどバージンじゃ つまらないおばんになっちゃう その前においしいハートを…食べて
Don’t take off my sailor-style school uniform
Not now! Please be patient
Don’t take off my sailor-style school uniform
I don’t want you to, no, not in a place like this

Girls are always 
Mi mi do shi ma (acting like they know all about sex)
Everyday

I want to have sex
Before my friends do
But I’m just so timid
That I find it hard to get past kissing

I want to have sex
Just like the weekly magazines
But going ahead and giving it all to you
Just seems such a waste. So I won’t.

Don’t take off my sailor-style school uniform
You’re going to even lift up my skirt, aren’t you?
Don’t take off my sailor-style school uniform
Don’t untie the ribbon on my breast

How do boys get at times like these?
I get so intrigued!
It’s such a mystery

It’s such a bore to be a virgin
When someone asks you on a date
Mum and Dad don’t know
About where I’m staying tomorrow night
I’m a slightly scared
But it’s such a bore to be a virgin
I’m going to be an old maid!
Before I do
Eat out my tasty heart
sērāfuku o nugasanaideima wa dameyo   gaman nasattesērāfuku o nugasanaideiyayo dameyo   konna tokoro ja

onnanoko wa   itsu demo“ MI MI DO SHI MA ”o benkyō shiterunoyoAh -  mainichi

tomodachi yori hayakuecchi o shitaikedokisu kara saki ni susumenaiokubyō sugiruno

shūkanshi mitainaecchi o shitaikedosubete o ageteshimau no wamottainaikara … agenai

sērāfuku o nugasanaidesukāto made   makurechaudeshosērāfuku o nugasanaidemune no ribon   hodokanaidene

otokonoko wa sono tokidō naru no ?kyōmishinshin   shichaunoyoAh -  fushigine

dēto ni sasowaretebājin ja   tsumaranaipapa ya mama wa shiranainoashita no gaihaku

choppiri kowaikedobājin ja   tsumaranaio ban ni nacchau   sono mae nioishī hāto o … tabete

Who Sang on Sailor Fuku Wo Nugasanaide?

The solo singers on sailor fuku wo nugasanaide comprised four people:

Eri Nitta 新田恵利 (Group member number 4) 

Miharu Nakajima 中島美春 (Group member number 5) 

Satomi Fukunaga 福永恵規 (Group member number 11)

Kazuko Utsumi 内海和子 (Group member number 13)

Who Wrote & Produced Sailor Fuku Wo Nugasanaide?

Lyricist: Yasushi Akimoto 秋元康

Composer:Hitoshi Sato 佐藤準 (keyboardist/arranger)

Producers: Hiroshi Ishida and Kazuji Kasai  (笠井一二)

Arranger: Hitoshi Sato(佐藤準) 

Who played on Sailor Fuku Wo Nugasanaide?

bass guitar and electric bass guitar:

Shigeru Okazawa (岡沢茂)

drums:

Jun Aoyama (青山純)

electric guitar:

Masaki Matsubara (松原正樹)

keyboard:

Hitoshi Sato (佐藤準)

Vocabulary used in Sailor Fuku Wo Nugasanaide

セーラー服 (セーラーふく)

sailor suit; middy uniform

脱がす (ぬがす)

to strip someone; to help someone remove (clothes)

(いま)

now; the present time; just now; soon; immediately; (one) more

駄目 (だめ、ダメ)

no good; not serving its purpose; useless; broken; hopeless; wasted; in vain; purposeless; cannot; must not; not allowed

我慢 (がまん)

patience; endurance; perseverance; tolerance; self-control; self-denial

為さる (なさる)

to do

(いや、や)

disagreeable; detestable; unpleasant; reluctant

こんな (こんな)

such (about something or someone close to the speaker (including the speaker), or about ideas expressed by the speaker); like this

(ところ、とこ)

place; spot; scene; site; address; district; area; locality; one’s house; point; part; space; room; whereupon; as a result; about to; on the verge of; was just doing; was in the process of doing; have just done; just finished doing

じゃあ (じゃあ、じゃ)

then; well; so; well then; combination of ‘de’ and ‘wa’ particles; plain copula

女の子 (おんなのこ、おんなのコ、おんにゃのこ)

girl

何時 (いつ)

when; how soon

勉強 (べんきょう)

study; diligence; discount; reduction

毎日 (まいにち)

every day

友達 (ともだち)

friend; companion

より (より)

than; from; out of; since; at; on; except; but; other than; more

早い (はやい)

fast; quick; hasty; brisk; early (in the day, etc.); premature; (too) soon; not yet; (too) early; easy; simple; quick

(エッチ、エイチ)

H; h; indecent; lewd; frisky; sexy; sexual intercourse; copulation

キス (キス、キッス)

kiss

進める (すすめる)

to advance; to promote; to hasten

臆病 (おくびょう)

cowardice; timidity

過ぎる (すぎる)

to pass through; to pass by; to go beyond; to pass (i.e. of time); to elapse; to have expired; to have ended; to be over; to exceed; to surpass; to be above; to be no more than …; to be excessive; to be too much; to be too …

週刊誌 (しゅうかんし)

weekly publication; weekly magazine

全て (すべて)

everything; all; the whole; entirely; completely; wholly; all

上げる (あげる)

to raise; to elevate; to do up (one’s hair); to fly (a kite, etc.); to launch (fireworks, etc.); to surface (a submarine, etc.); to land (a boat); to deep-fry; to show someone (into a room); to summon (for geishas, etc.); to send someone (away); to enrol (one’s child in school); to enroll; to increase (price, quality, status, etc.); to develop (talent, skill); to improve; to make (a loud sound); to raise (one’s voice); to earn (something desirable); to praise; to give (an example, etc.); to cite; to summon up (all of one’s energy, etc.); to arrest; to nominate; to give; to offer up (incense, a prayer, etc.) to the gods (or Buddha, etc.); to bear (a child); to conduct (a ceremony, esp. a wedding); (of the tide) to come in; to vomit; to do for (the sake of someone else); to complete …; to humbly do …

勿体ない (もったいない)

impious; profane; sacrilegious; too good; more than one deserves; unworthy of; wasteful

(まで)

until (a time); till; to; up to; to (a place); as far as; to (an extent); up to; so far as; even; only; merely

捲れる (まくれる、めくれる)

to be (get) turned up (inside out)

(むね、むな)

chest; breast; breasts; bosom; bust; heart; lungs; stomach; heart; mind; feelings

リボン (リボン)

ribbon

解く (ほどく)

to unfasten; to untie; to unwrap (e.g. parcel)

男の子 (おとこのこ、おとこのコ)

boy; male child; baby boy

成る (なる)

to become; to get; to grow; to be; to reach; to attain; to result in; to prove to be; to consist of; to be composed of; to succeed; to be complete; to change into; to be exchanged for; to play a role; to be promoted; to do …

興味津々 (きょうみしんしん)

very interesting; of absorbing interest; having a keen interest (in); being immensely curious (about)

不思議 (ふしぎ)

wonder; miracle; strange; mystery; marvel; curiosity

デート (デート)

date; go on a date

誘う (さそう、いざなう)

to invite; to ask; to call (for); to tempt; to lure; to induce

バージン (バージン)

virgin

詰らない (つまらない)

dull; uninteresting; boring; tedious; insignificant; unimportant; trifling; trivial; worthless; absurd; foolish; silly; stupid; useless; pointless; disappointing

知る (しる)

to be aware of; to know; to be conscious of; to cognize; to cognise; to notice; to feel; to understand; to comprehend; to grasp; to remember; to be acquainted with (a procedure); to experience; to go through; to learn; to be acquainted with (a person); to get to know; to concern

明日 (あした、あす、みょうにち)

tomorrow; near future

外泊 (がいはく)

spending night somewhere else (usu. away from home); sleepover; sleep over

ちょっぴり (ちょっぴり、ちょぴり)

very little bit; just a smidgin; wee bit

怖い (こわい)

scary; frightening; eerie; dreadful; (I’m) afraid

美味しい (おいしい、オイシイ)

delicious; tasty; sweet

ハート (ハート)

heart

食べる (たべる)

to eat; to live on (e.g. a salary); to live off; to subsist on

Who is behind this site?

I’m Peter Joseph Head. I lived in Japan for four years as a student at Kyoto City University of the Arts doing a Masters Degree, have toured the country six times playing music and speak Japanese (JLPT N1). I’ve written songs in Japanese and have released several albums through Tokyo label Majikick Records. You can hear my music at my bandcamp page:

ピータージョセフヘッドです。4年間京都市立芸大の大学院として日本に住み、6回日本で音楽ツアーをし、日本語能力試験で1級を取得しました。要するに日本好きです。

僕の音楽はBandcampで聞けます。

Sexist Lyrics in Japan: translating 3 songs by AKB48 Mastermind Yasushi Akimoto 日本の性差別的な歌詞秋元康の歌詞の翻訳

A country’s lyrics say a lot about where that country is at culturally. Whether it is American lyrics that call out Japanese designers as a way of expressing socio-economic superiority, or Japanese lyrics about the pre & post-Olympic Tokyo, it’s always interesting to see what is causing people to break into song.

Today we look at three song lyrics by Yasushi Akimoto, polymath producer behind the modern-day mega-girl group idol phenomenon in Japan.

These lyrics show women & girls as being in turn fawning, ditsy and hot for sex. What this says about the Japanese zeitgeist I will leave up to the reader to determine. It’s worth having a look at these though, especially if you are fan of the 48 girl group franchises.

Who is Yasushi Akimoto? 秋元康 Lyrics

Yasushi Akimoto is the man with the midas touch in the Japanese entertainment industry. His activities span the worlds of music, television, novels, anime, even women’s entertainment wrestling. But he’s most well known as the producer, lyricist and co-creator of the outrageously successful “48” groups that started in Akihabara with AKB48 before expanding, rather like a chain of fast-food restaurants, to have franchises across Japan and later across many parts of Asia.

He got his start working as a writer for the broadcaster Nippon Housou in the 70s, and wrote his first lyrics for the pop group The Alfee in the early 80s. He came to greater prominence as producer and lyricist with comedic-sometimes-musical duo Tunnels. 

Yasushi Akimoto enters the “idol” trade

But it wasn’t until 1985 that he was to come across the formula that would be his bread and butter, or perhaps caviar and truffles, for the greatest part of his life, the marketing, production and promotion of young girls. Specifically, he hit upon the idea of creating large groups of cute, largely subservient and more or less sexualised teenage idol groups. Starting with the smash-hit group Onyanko Club, and eventually mutating into the gargantuan, factory-like fun-machine that is the 48 phenomenon.

It was an inspired, and lucrative, modus operandi, that allowed an older, somewhat portly, bespectacled man in a suit to have a potentially indefinite lifespan as a provider of fun times, earworms and entertainment. 

It was as if Yasushi had discovered the pop “fountain of youth” where he could vicariously live through an ever-changing array of hostess bodies. He was parasite and queen bee rolled into one. 

The funny thing was that his product, of the sweet, innocent singing and dancing girl, multiplied by powers of ten, was just what the mostly, but not exclusively, male public needed. 

It was also as if large parts of Japan, later the world, were looking for some kind of idealised body corporate to vicariously live out their lives. 

Kaori Shoji, on the Japansubculture blog, has gone as far as calling Yasushi a “Zegen” 女衒, which was the term used for the middle-men merchant pimps who bought and sold girls into both the sex trade and entertainment industry half a century ago. 

Though I think this characterization goes too far, it is worth looking at, and being aware of, some of the overtly sexist lyrics that he writes and has his girl groups deliver. And we’ll look at three examples today.

セーラー服を脱がさないで (don’t take off my sailor-style school uniform) lyrics

This was the 1985 debut hit for the idol girl group Onyanko Club. The song turned heads at the time with it’s quite straightforward voicing of the somewhat conflicted sexual desires of a school girl – sung as it was by a group of innocent-looking school-age girls. The song voices a “no-means-yes” playing out of women’s sexuality that can still be seen today. 

The song is probably more of a cultural phenomenon than its top ranking at number 5 on the Oricon charts might suggest.

セーラー服を脱がさないで

今はダメよ 我慢なさって

セーラー服を脱がさないで

嫌よダメよ こんなところじゃ

Don’t take off my sailor-style school uniform

Not now! Please be patient

Don’t take off my sailor-style school uniform

I don’t want you to, no, not in a place like this

女の子は いつでも

“MI・MI・DO・SHI・MA”(耳年増)

お勉強してるのよ

AH- 毎日

Girls are always 

Mi mi do shi ma (acting like they know all about sex)

Everyday

友達より早く

エッチをしたいけど

キスから先に進めない

臆病すぎるの

週刊誌みたいな

エッチをしたいけど

全てをあげてしまうのは

もったいないから…あげない

I want to have sex

Before my friends do

But I’m just so timid

That I find it hard to get past kissing

I want to have sex

Just like the weekly magazines

But going ahead and giving it all to you

Just seems such a waste. So I won’t.

セーラー服を脱がさないで

スカートまでまくれちゃうでしょ

セーラー服を脱がさないで

胸のリボン ほどかないでね

Don’t take off my sailor-style school uniform

You’re going to even lift up my skirt, aren’t you?

Don’t take off my sailor-style school uniform

Don’t untie the ribbon on my breast

男の子はその時

どうなるの?

興味津々 しちゃうのよ

AH- 不思議ね

How do boys get at times like these?

I get so intrigued!

It’s such a mystery

デートに誘われて

バージンじゃ つまらない

パパやママは知らないの

明日の外泊

ちょっぴり恐いけど

バージンじゃ つまらない

おばんになっちゃう その前に

おいしいハートを…食べて

It’s such a bore to be a virgin

When someone asks you on a date

Mum and Dad don’t know

About where I’m staying tomorrow night

I’m a slightly scared

But it’s such a bore to be a virgin

I’m going to be an old maid!

Before I do

Eat out my tasty heart


アインシュタインよりディアナ・アグロン (Forgot about Einstein, How about Dianna Agron) lyrics

Amongst Yasushi Akimoto’s canon of lyrics, these ones written for HKT48 are the reigning kings of portraying women as a bunch of right royal dimwits. The song rightly drew a lot of flak from both international and domestic Japanese media on it’s release. 

難しいことは何も考えない

頭からっぽでいい

二足歩行が楽だし

ふわり軽く

風船みたいに生きたいんだ

Don’t try and think of anything demanding

Being empty-headed is just fine

There’s enough comfort in just bipedal walking,

Soft and gentle

I want to live my life like a balloon

女の子は

可愛くなきゃね

学生時代は

おバカでいい

今 一番 大切なことは そう

キャピキャピと

Girls, 

They’ve got to be pretty, right?

When you’re a student,

It’s best to be dumb

Thing that matters most for the time being

Is to be bubbly

アインシュタインより

ディアナ・アグロン

テストの点以上

瞳(め)の大きさが気になる

どんなに勉強できても

愛されなきゃ意味がない

スカートをひらひらとさせて

グリーのように

Forgot about Einstein

How about Dianna Agron

I’m more worried about the size of my eyes

Then the marks on my exam

It doesn’t matter how much you study

If nobody loves you

Like the fluttering skirts in Glee

世の中のジョーシキ 何も知らなくても

メイク上手ならいい

ニュースなんか興味ないし

たいていのこと

誰かに助けてもらえばいい

You don’t need to know anything about common knowledge

You just have to be good at doing make-up

I couldn’t give a damn about the news

Whatever happens,

Someone or other will come to your rescue

女の子は

恋が仕事よ

ママになるまで

子供でいい

それよりも重要なことは そう

スベスベの

お肌を保つことでしょう?

Love, is a woman’s job

Until you’re a mum,

Just stay a child

Instead of all that

You should just have to make sure you have nice skin

アインシュタインって

どんな人だっけ?

聞いたことあるけど

本当はよく知らない

教科書 載っていたような

なんか偉い人だった

好きなのはディアナ・アグロン

Who was Einstein again?

I think I’ve heard of him

I don’t really know

He was, like, some great due

In some textbook

But I like Dianna Agron

もっともっともっと

輝きたい

人は見た目が肝心

だってだって

内面は見えない

可愛いは正義よ

チヤホヤされたい

アインシュタインより

ディアナ・アグロン

I want to sparkle

More and more

The way you look to others is important

Because, you know,

What is inside can’t be seen

Cuteness is righteousness!

I want to be pampered

Less like Einstein

Than Dianna Agron

テストの点以上

瞳(め)の大きさが気になる

どんなに勉強できても

愛されなきゃ意味がない

スカートをひらひらとさせて

グリーのように

I’m more worried about the size of my eyes

Than the score on my test

It doesn’t matter how much you study

If nobody loves you

Like the fluttering skirts in Glee


君に叱られた

This is the newest entry in Yasushi’s unflattering portrayals of women. It was written for Nogizaka 46 and reached number 1 on the Oricon charts. Full lyrics of kimi ni shikarareta are here, but here are a couple of excerpts.

“ずっと素直になれなくてごめん

言い負かされて悔しいけれど

一人きりじゃ 何もできない

言葉が 言葉が刺さってるのに

反論しても無駄な抵抗だ

プライドなんかどうでもいいよ

それより僕は 君に叱られて嬉しい

Though it hurts to be talked down to

I can’t do anything on my own.

For some reason, even though our words as so piercing

Even if I try and argue, it’s just a hopeless resistance

Who cares about pride?

Rather than that, it makes me happy when you set me straight”

“愛は甘えられるもの 許してくれるもの

だからいつだって 一方的だった

やりたいようにやっては 誰か傷つけて来たのか

例えば世界にたった一人の君には

叱ってもらいたい

Love is being spoilt rotten, and being forgiving

And for that very reason, it’s been so one-sided

Doing whatever I want, maybe I was always hurting someone?

Even though there is only one of you in this world

I want you to scold me.”

Who is behind this site?

I’m Peter Joseph Head. I lived in Japan for four years as a student at Kyoto City University of the Arts doing a Masters Degree, have toured the country six times playing music and speak Japanese (JLPT N1). I’ve written songs in Japanese and have released several albums through Tokyo label Majikick Records. You can hear my music at my bandcamp page:

ピータージョセフヘッドです。4年間京都市立芸大の大学院として日本に住み、6回日本で音楽ツアーをし、日本語能力試験で1級を取得しました。要するに日本好きです。

僕の音楽はBandcampで聞けます。

Ikiataribattari Song From Midnight Diner: Lyrics & Background

I’ve had so many musical discoveries watching the Netflix series Midnight Diner. One of these was the wonderfully quasi-onamatopoec euphoneous 人生行きあたりばったりJinsei Ikiataribattari song by Suemarr that first made an appearance in the “nekomanma” episode of the program. I’ve done an English translation of the ikiataribattari lyrics, and some quotes by the songwriter about how the song was made. 

As with much of the Midnight Diner soundtrack, the song is not made by a big name star, but rather a jobbing musical craftsman plying his trade in the shadows just to the side of the neon lights. 

Suemarr (スーマー)and the creation of Ikiataribattari

Suemarr’s (pronounced Soo-mar) big musical break came relatively late in life. On top of an earlier incarnation as a drummer, he had been singing songs for the better part of 15 years when his composition Jinse Ikiataribattari featured in Midnight Diner. 

The original creator of the Midnight Diner comic Yaro Abe had actually been aware of Suemarr from before the video version of the show started to be made, as Suemarr has spoken about on his blog:  

“「人生行きあたりばったり」が歌になるまでの経緯は、実は「深夜食堂」よりも前の話に遡ります。

The process of the creation of the song “Jinsei Ikiataribattari” actually started long before “Midnight Diner”. 

「人生行きあたりばったり」は御存知の通り、安倍夜郎さんが歌詩を書いて、私が歌にしました。

As you know, the words to “Jinsei Ikiatari Battari”were written by Yaro Abe, to which I added music.

安倍さんはその歌詩を手紙に6番まで書き上げて私に送ってくれました。『これに曲をつけてくれませんか?」

Abe sent my six verses of lyrics in the mail. “Could you set this to song? “

正にあの深夜食堂に登場する人たちの絵のタッチと同じような繊細で温かみのある字で綴られていました。

The words delicately and warmly captured the essence of the characters that appear in the Midnight Diner series.”

The song was originally written as a collaboration between the mangaka and the songwriter to be included on Suemarr’s debut album Minstrel.

Suemarr meets Midnight Diner director Joji Matsuoka

The director of the screen adaptation, Joji Matsuoka, became aware of Suemarr’s work when he and Abe ventured out to see him play one night:

“久しぶりに福原希己江さんと新橋の草枕という喫茶店でライブをした時に安倍夜郎さんと「深夜食堂」監督の松岡錠二さんが初めて聴きに来てくれました。

I was playing a gig with Kimie Fukuhara for the first time in a while at a cafe called Kusamakura in Shinbashi. Yaro Abe and Midnight Diner director Joji Matsuoka came to watch for the first time.”

I’ve written in the past about how Kimie Fukuhara met the Midnight Diner director at a party. Suemarr was also a friend of the Midnight Diner’s opening theme singer Tsunekichi Suzuki. You get the sense that the show’s strong musical identity really did come together naturally, at the bar, down the darkly twinkling alley, over the choko cup. Perhaps this is part of the reason why the Midnight Diner soundtrack has such a strong identity. It’s the sound of an artistic social circle.

Suemarr elaborates on his relationship with Kimie Fukuhara:

この頃は既に福原希己江さんの歌は「深夜食堂」で流れていました。

At the time, Kimie Fukura’s songs were already being used in Midnight Diner.

実は福原希己江さんとはかなり前からの知り合いで、八丁堀にある七針というギャラリーでのライブで出会いました。

Actually, I had known Kimie Fukuhara for quite a long time, I had met her at a gig at a gallery in Hatchobori called Nanahari.

その七針が制作した彼女のソロアルバムを出した頃で、深夜食堂が放映されるよりもずっと前のことでした。

Her first solo album, produced by that same Nanahari, was released long before Midnight Diner went to air.

それ以来、仲良くなり、時々ライブを一緒にやっていたのです。

From there on, we struck up a friendship and would play shows together from time to time.

Strangely enough, I’ve played music at Nanahari  surprisingly myself on two occasions. It is a white box, tucked under a nondescript city structure in a corporate looking, business orientated area of Tokyo. It is the kind of room you would more expect to find, say, a team of sweatshop foreign apparel workers in than a couple of songwriters trading verses and musings on the whimsical nature of things. Certainly not the sort of place you usually expect to find bohemian troubadours aimlessly a-rambling on the ikiataribattari.

Kimie Fukuhara went on to take an iphone recording of Suemarr playing jinsei ikiataribattari live and send it to the Tokyo Stories production team. 

Either way, the song seems like it was all but inevitably destined to appear in the show. After all, the words to the song had been written by the original comic creator himself…

Ikiataribattari writing process

Suemarr’s description of the how the song was written also has a strong sense of inevitability about it:

安倍さんの詩を何度か読み返している内に、歌になっていました。

I read the lyrics over and over, and it just became a song.

言葉と音楽は出会いです。こんなこともあるのです。

Words and music are a coming together.  This kind of thing exists.

And though the “song wrote itself” narrative is an oft-used cliche, the “destiny” creation story goes well with the theme of the song itself – that, in life, you are best off following your nose. Which is a slightly more lacadiscally bohemian way of saying, surrender yourself to a higher power.

So, with that background in place let’s get into looking at what the Ikiataribattari lyrics are actually on about.

What does Ikiatari battari mean?

Ikiataribattari means to wander around without any particular aim or purpose. It means to ramble, or wander or let yourself be blown on the breeze of chance and whimsy. 

All this is really one of the blue jean, everyday work-wear central themes of folk music and ideology. It’s the narrative of the freewheelin hobo, lone wolf, outsider who rollin’ stones it from town to town like musical shoe salesman – except with a guitar case on his back rather than a suitcase in his hands. You can see this right from “Through this world I’m a-bound to ramble” right through to it’s more rock n roll incarnation “Baby I was born to run”. 

You can also see it in Suemarr’s Japanese folk forebears, for example, as in Wataru Takada’s iconic “Seikatsu no Gara”:

It is one of those beautiful confluences of the world as it is that the Midnight Diner team first heard Suemarr’s music at a venue called “Kusamakura” which literally means “grass pillow” and is a word for sleeping in the open grass field while on the move.

Ikiataribattari lyrics Translated

Here is my translation of the ikiataribattari song lyrics. I’ve aimed to create a translation which is singable and uses a rhyming structure that both pays attention to those found in the original and makes sense in English. As such, not every line is a completely “literal” representation of the original (although, it is hard to know what literal even means, in that when rendering something completely literally it often actually ends up making little to no sense in the corresponding language).


行き当たりばったり
行き当たりばったり
行き当たりばったりよ

子供の頃から
いくつになっても
行き当たりばったりよ

路地裏くねくね
会ってもなくゆくのが
とても好きなのよ

暑い日が日陰で
寒い日は日向で
じっとしてるよ

散々迷って
失敗するのも
よくあることだろうよ

どうしようもないけど
何とかなってる
それでいいじゃないの

運もないけど
神様いるって
何となく信じてる

死ぬまでそうだろうなぁ

I go whichever way the wind blows
I go whichever way the wind blows
I go whichever way the wind blows

I’ve been like that since I was a kid
I guess I’ll be just like that right until the end
I go whichever way the wind blows

Rambling through those back streets
Follow my nose, and follow my feet
That’s just how I like it, don’t you know?

When it’s hot, I slip into the shade
When it’s cold, a pool of sun to bathe
I take it easy as she goes.

Sometimes you get lost, don’t know where you are
Sometimes you try your heart out, and never get far
Well that’s just one for the road
Sometimes there’s nothing for it
But if your heads above water
There’s no shame in that, no no no.

Yes, it’s true that I’ve got no love
But there must be some kind of God up above
Or I guess I kinda sorta hope so.

And I guess that’s how I’ll be till I lay low.

Who is behind this site?

I’m Peter Joseph Head. I lived in Japan for four years as a student at Kyoto City University of the Arts doing a Masters Degree, have toured the country six times playing music and speak Japanese (JLPT N1). I’ve written songs in Japanese and have released several albums through Tokyo label Majikick Records. You can hear my music at my bandcamp page:

ピータージョセフヘッドです。4年間京都市立芸大の大学院として日本に住み、6回日本で音楽ツアーをし、日本語能力試験で1級を取得しました。要するに日本好きです。

僕の音楽はBandcampで聞けます。

Midnight Diner Soundtrack – Complete Music List

Midnight Diner Soundtrack

The Netflix Programs Midnight Diner and Midnight Diner Tokyo Stories use music prominently throughout the series to set the scene and provide a counterpoint to the drama depicted. Most strikingly, the show opens with the contrast of Tsunekichi Suzuki’s song Omoide, which we’ve written about extensively before, as a car rolls slowly, as if floating in a dream, through Tokyo streets. It is a bold artistic move, removing the bustling street sounds of car horns and train rumbles that you may expect and replacing them with the sounds of a gently picked folk guitar song from a largely obscure musician. 

This sets the scene for the rest of the Midnight Diner series, where music is used prominently and boldly, almost as if it is another character within a larger dialogue. The Midnight Diner soundtrack also consistently champions lesser known, or more underground artists – in a similar way to how the program itself regularly highlights the outcasts, misfits, and eccentrics of the Japanese night. Artists such as Kimie Fukuhara, who happened to meet the Tokyo Stories director at a party, are regular contributors. Folk underground troubadours such as Sue Marr, with the prominent use of his song Ikiataribattari, help lay the foundation within which the Tokyo Stories unfold. Bands such as the short lived Magic Party close out episodes.

Zeigo Original Tsunekichi Suzuki album featuring main Midnight Diner Opening Theme

The song Ikiataribattari by Suemarr is used prominently in several episodes of Midnight Diner and comes from the album Minstrel:

Album featuring Ikiataribattari

Complete List of Songs Used In Midnight Diner & Midnight Diner: Tokyo Stories Soundtracks

Midnight Diner Season 1
Song NameArtist Episode No.Listen online
おもいで (Omoide – Remembrances)鈴木常吉
Tsunekichi Suzuki
Opening Song youtube
Believe in paradiseMagic PartyEnding songyoutube
まよい猫 (Mayoineko – Lost Cat)2youtube
父のワルツ (Chichi no Waltz)鈴木常吉
Tsunekichi Suzuki
2,3,8youtube
函館の人 (Hakodate no Hito – The person from Hakodate)北島三郎
Kitajima Saburo)
5Acoustic fan version
Midnight Diner Season 2
Song NameArtist Episode No.Youtube link
おもいで (Omoide – Remembrances)鈴木常吉
Tsunekichi Suzuki
Opening Song youtube
嘘のつき方 (Uso no tsukikata – How to lie)Love Love LoveEnding Songyoutube
できること (dekiru koto – All I can do)福原希己江
Kimie Fukuhara
1youtube
あさりの酒蒸し (Asari no sakamushi – Sake steamed Clams)福原希己江
Kimie Fukuhara
3youtube
なかないで (Nakanaide – Don’t cry)福原希己江
Kimie Fukuhara
4,7youtube
羽田( Haneda)福原希己江
Kimie Fukuhara
10youtube
Midnight Diner Season 3
おもいで (Omoide – Remembrances)鈴木常吉
Tsunekichi Suzuki
Opening Song youtube
yakimochi高橋優
Yu Takahashi
Ending Songyoutube
何も言わないで(Nani mo iwanaide – Do not say anything) 星川とき江
Hoshikawa Tokie
1youtube
ぶたトマト( Buta tomato – Bacon wrapped tomato)福原希己江
Kimie Fukuhara
2Apple Music
ちょいと寂しい夜のうた( Choito sabishii yoru no uta – Song of a little lonely night)スーマー
Suemarr
4youtube
紅天の女(Beni Ten no Onna – Women of deep red sky)福原希己江
Kimie Fukuhara
4youtube
ロールキャベツ (Rooru Kyabetsu – Cabbage Rolls)福原希己江
Kimie Fukuhara
6youtube
人生行きあたりばったり(Jinsei ikiataribattari – Life by chance)スーマー
Suemarr
10youtube
想い想われ(Omoi sou ware)福原希己江
Kimie Fukuhara
10youtube
Midnight Diner: Tokyo Stories Season 1
おもいで (Omoide – Remembrances)鈴木常吉
Tsunekichi Suzuki
Opening Song youtube
人生行きあたりばったり(Jinsei ikiataribattari – Life by chance)スーマー
Suemarr
Ending song of episode 1youtube
道路 (Douro – Road) スーマー
Suemarr
Ending song of episode 3Youtube
雨の想い出(Ame no omoide – Memories of rain)福原希己江
Kimie Fukuhara
4Youtube
ちょいと寂しい夜のうた( Choito sabishii yoru no uta – Song of a little lonely night)スーマー
Suemarr
Ending song of episode 4youtube
夜明けまで( Yoake made – Untill Dawn)スーマー
Suemarr
5Youtube
月明かりよ( Tsukiakariyo – Moonlight)スーマー
Suemarr
Ending song of episode 5Youtube
ちょいと寂しい夜のうた( Choito sabishii yoru no uta – Song of a little lonely night)スーマー
Suemarr
Ending song of episode 7youtube
想い想われ(Omoi sou ware)福原希己江
Kimie Fukuhara
Ending song of episode 8youtube
できること (dekiru koto – All I can do)福原希己江
Kimie Fukuhara
9youtube
人生行きあたりばったり(Jinsei ikiataribattari – Life by chance)スーマー
Suemarr
Ending song of episode 10youtube
想い想われ(Omoi sou ware)福原希己江
Kimie Fukuhara
Ending song of episode 10youtube
Midnight Diner: Tokyo Stories Season 2
おもいで (Omoide – Remembrances)鈴木常吉
Tsunekichi Suzuki
Opening Song youtube
ミルクをしぼる少女(Miruku wo shiboru shoujo)福原希己江
Kimie Fukuhara
1Youtube
石(Ishi – Stone)鈴木常吉
Tsunekichi Suzuki
Ending song of episode 1Youtube
人生行きあたりばったり(Jinsei ikiataribattari – Life by chance)スーマー
Suemarr
Ending song of episode 2youtube
夜明けまで( Yoake made – Untill Dawn)スーマー
Suemarr
Ending song of episode 3Youtube
ちょいと寂しい夜のうた( Choito sabishii yoru no uta – Song of a little lonely night)スーマー
Suemarr
Ending song of episode 4youtube
おもいで (Omoide – Remembrances)鈴木常吉
Tsunekichi Suzuki
Ending song of episode 5youtube
碧い月の夜に(Aoi tsuki no yoru ni – On a blue moon night)福原希己江
Kimie Fukuhara
Ending song of episode 6Youtube
ミルクをしぼる少女(Miruku wo shiboru shoujo)福原希己江
Kimie Fukuhara
Ending song of episode 9Youtube
おもいで (Omoide – Remembrances)鈴木常吉
Tsunekichi Suzuki
Ending song of episode 10youtube
ミルクをしぼる少女(Miruku wo shiboru shoujo)福原希己江
Kimie Fukuhara
Ending song of episode 10Youtube

Digital downloads for the full Suemarr Minstrel album are available here.

List of songs used in Midnight Diner Soundtrack

We couldn’t find a complete list of all the music from Midnight Diner and Midnight Diner Tokyo Stories, so we decided to put one together! 

It’s actually quite a project. There are a lot of different songs used in different episodes, and most of the songs are not credited. Not many come up using audio recognition software such as Shazam, either. So there is a bit of detective work involved. Here is what we have been able to come up with so far, and we will keep adding to the list as we go along.

Who is behind this site?

I’m Peter Joseph Head. I lived in Japan for four years as a student at Kyoto City University of the Arts doing a Masters Degree, have toured the country six times playing music and speak Japanese (JLPT N1). I’ve written songs in Japanese and have released several albums through Tokyo label Majikick Records. You can hear my music at my bandcamp page:

ピータージョセフヘッドです。4年間京都市立芸大の大学院として日本に住み、6回日本で音楽ツアーをし、日本語能力試験で1級を取得しました。要するに日本好きです。

僕の音楽はBandcampで聞けます。

Kimie Fukuhara English Lyrics

Kimie Fukuhara Lyrics In English

Kimie Fukuhara is a Japanese singer, born in 1979 in Haneda, south of Tokyo. She is most well known for having had several of her songs featured in the Midnight Diner soundtrack.

I’ve also written about the Midnight Diner Opening Song Omoide here

Kimie Fukuhara Involvement in Midnight Diner

She became closely involved with the Midnight Diner program from 2011, after meeting director Joji Matsuoka at a friend’s party the year before. Many of the songs featured were about foods, to fit in with the food theme of the Tokyo Stories more generally. 

Food related songs used in Midnight Diner included: 

  • 「唐揚げ」Karaage Fried Chicken,
  • 「あさりの酒蒸し」Clams steamed in sake,
  • 「クリームシチュー」Cream Stew
  • 「紅天の女」(which is short for 「紅しょうがの天ぷら」) Tempura with beni shoga, red pickled ginger, woman.

In 2016, she discovered the lute and devoted herself to learning how to play it. 

She performs regularly at cafes and bars around Japan on Lute and other string instruments.

Fukuhara has a Youtube channel where since 2019 she has regularly performed her own songs as well as covers of well known songs, in particular anime songs.

Fukuhara is also friends with Suemarr who contributed the song 人生行きあたりばったり jinsei ikiataribattari. In fact, it was Fukuhara who first took a video on her iphone of Suemarr playing the song live and sent it to Midnight Diner’s production team.

Kimie Fukuhara Omoi Omoware lyrics (To Love and Be Loved) in English

福原希己江 想い想われ 歌詞 英訳

Gently fluttering down,

Where did those petals go?

Leaving a sweet scent

Living within you

On the other side of the narrow stream

Today, also, you smile

Without awareness of the years of age

Today, also, passes.

Gently, your face breaks into a smile

I can’t help but look, over and over

Searching out that sweet fragrance

That has taken up residence within me

Within the black darkness

Today, also, you are smiling

Without awareness of the years of age

Today, also, passes

Like the wind, like a flower

If I could have been by your side

Do not forget, do not forget, about me.


Kimie Fukuhara Omoi Omoware lyrics (To Love and Be Loved) in English & Japanese

はらはらと零れ落ちる

Gently fluttering down,

あの花びらはどこへ行ったの

Where did those petals go?

甘い香りを残して

Leaving a sweet scent

あなたの中に住み着いた

Living within you

薄い川の向こうで

On the other side of the narrow stream

あなたは今日も笑ってる

Today, also, you smile

ああ 歳のことには気づかずに

Without awareness of the years of age

今日も過ぎてゆく

Today, also, passes.

はらはらと綻ぶ笑顔

Gently, your face breaks into a smile

見てたくて繰り返してしまう

I can’t help but look, over and over

甘い香りを求めて

Searching out that sweet fragrance

わたしの中に住み着いた

That has taken up residence within me

黒い闇の中で

Within the black darkness

あなたは今日も笑ってる

Today, also, you are smiling

ああ 歳のことには気づかずに

Without awareness of the years of age

今日も過ぎてゆく

Today, also, passes

風のように 花のように

Like the wind, like a flower

あなたの傍にいれたなら

If I could have been by your side

忘れないで 忘れないで わたしを

Do not forget, do not forget, about me.You can find more information about the opening theme song of Midnight Diner here or the song by Magic Party used in the Midnight Diner here.

Who is behind this site?

I’m Peter Joseph Head. I lived in Japan for four years as a student at Kyoto City University of the Arts doing a Masters Degree, have toured the country six times playing music and speak Japanese (JLPT N1). I’ve written songs in Japanese and have released several albums through Tokyo label Majikick Records. You can hear my music at my bandcamp page:

ピータージョセフヘッドです。4年間京都市立芸大の大学院として日本に住み、6回日本で音楽ツアーをし、日本語能力試験で1級を取得しました。要するに日本好きです。

僕の音楽はBandcampで聞けます。

Junya Watanabe On My Wrist – Kanye West’s Love of The Japanese Fashion Designer

When Kanye West, somewhat cryptically, sang “Junya Watanabe on my wrii” much of the internet, a word here used to describe, “the earth”, collectively asked the “what-the-hell-on my wha?” 

So I thought it might be fun to take a look at the connection between Junya Watanabe and Kanye West, as referenced on both “Junya” and “Junya Pt.2” the Donda album.

Junya Watanabe on my wri’, wri’

Junya Watanabe on my wri’, wri’

Tell ’em this, did he miss?

Junya Watanabe on my, mmh

I can’t really see, where did I miss? (Mmh, mmh)

Who is Junya Watanabe?

Watanabe is a fashion disruptor. He is a creator of clothing so functional it actually appears quite radical.

In his work with Japanese fashion label Commes Des Garcons he has consistently taken what he refers to as “dumb clothes”, think denim jackets, trench coats, t-shirts, and found ways to reinvent them in ways that are at once counterintuitive, but logical.

Born 1961, he attended the prestigious Bunka Fashion College where he graduated in 1984. At 23, he got an entry level job at Commes Des Garcons. 

Early on he was influenced by Pierre Cardin and Issey Miyake. Commes founder Rei Kawakubo spotted him early as having potential. 

Watanabe did so well for the fashion brand that he was able to launch his own Junya Wanabe line, under the umbrella of Commes, in 1992. Initially focused on womenswear, his materials reflected the zeitgeist of the time with flannel, tweed and plaid.

Tellingly, and amusingly in the way out world of fashion, his breakout collection in 2000 was called “Function and Practicality.” 

Indeed, in his work, fashion didn’t so much meet function as tackle it head long into the dirt. What on the surface level was easily recognisable became reversible, waterproof, recombined. 

His aesthetic was undeniable. In 2001, he was appointed designer for Comme des Garçons Homme. He debuted his men’s line. He expounded upon his themes of delivering everyday stuff with contortion. 

How did a Japanese designer become the symbol of cultural status in mainstream American in 2021?

Watanabe’s obsession with reinterpreting the everyday fitted in well with the rise of functional street wear to the level of high fashion. It also coincided with the rise of consumeristic content in street culture and music more generally. Hip hop went from being songs of the ghetto to songs of luxury and conspicuous consumption. 

All of a sudden you didn’t just want a baseball cap, you wanted a baseball lined with 24 carat gold. You wanted street cred, but you also wanted old world European prestige. You wanted high top kick boots, but they had to be the boots that no one else could buy, more expensive, more exotic, more out of reach.

Junya’s work was the ultimate mix of function, prestige and exoticism.

We’ve also written about Junya Watanabe as part of our article on Japanese Minimalist Fashion.

This in depth article from Grailed gives a lot more info on Junya if you want to go down the rabbit hole.

Where are Junya Watanabe fashion items sold?

Junya’s clothing is available for purchase from high-end retailers including Ssense’s Junya Watanabe men’s page or Junya Watanabe women’s page

Who are Commes Des Garcons?

Commes Des Garcons are one of the most recognizable Japanese fashion brands in the world today. They were started as a label in 1968 by Rei Kawakubo, originally as a women’s only high-fashion brand. Today, they are perhaps more well known for their streetwear t-shirts and jackets as worn by major American celebrities such as Kanye West, Pharrell Williams and many others.

They are one of the few Japanese brands to truly run the gamut of fashion genres from high fashion to urban clothing.

This video gives a pretty good overview of the company:

So is there a Junya Watanabe Watch?

So let’s assume that “Junya Watanabe on my wrii” means “(I’ve been wearing) Junya Watanabe on my wrist”. This has led to many people assuming that Kanye must wear Junya Watanabe watches. Junya Watanabe doesn’t have any commercially available watches bearing his name. There are rumors that Kanye is referencing an as-yet unreleased Junya Watanabe line timepiece.

Junya Watanabe does, however, already make various trendy wristwear. We would refer to them as bracelets, but then Ye would need to change the words to the song.

There are Junya wristwear in leather:

And Junya wrist wear in metal:

I couldn’t find any specific evidence of Kanye wearing Junya Watanabe wrist-wear, although there is evidence of him wearing “What Would Jesus Do?” bracelets.

The reference to “Junya Watanabe on my wrii” as being about watches is strengthened by the lyric later in the song where Kanye says

God’s time can’t fit on a wrist

Amen to that.

Meaning of the Song Junya?

The song Junya is an intriguing mix of religion, braggadocio and consumerism. To paraphrase the overall vibe, it has Kanye saying “Look at me, I’ve got expensive accessories on my arms, from sophisticated artisan designers. I am chosen by God to be the leader of man”. In this way, the sentiment comes across as almost messianic.

Kanye is singing both personally to his mother:

This on Donda (Mmh, mmh), on my mama (Mmh, mmh)

Made a promise (Mmh)

and collectively to the world:

Tell ’em this, did he miss?

Even after 10 studio albums, he sounds like a man with something to prove, with a chip on his shoulder, goading both the world, and his own kin, daring people to tell him that he “has missed” in life. The argument seems to be “I’m not a loser, I’ve got a nice watch that nobody else has”. Taken in isolation, it’s a line that is so superficial that it hurts.

But taken in the context of a song that is backed by a righteous religious ferocity, in a social climate that exults the pursuit of status through consumerism and Christianity, the line has impact.

He goes on to further mix worldly, and spiritual achievement:

I won with the bucks, boy
Let me Giannis (Mmh, mmh)
I won with the bucks, boy (Mm, mm)
The spirit is on us (Mmh, mmh)
The spirit of Donda

Here Kanye delivers a clever play on words in a double meaning with “I won with the bucks” which means both that he has more money than everyone else, and that he did it like the champion Giannis Antetokounmpo with the Milwaukee Bucks basketball team.

But Kanye’s worldly success is not luck. The song says that his fortune was divinely preordained, that he, and his blood, are chosen with “the spirit on us, the spirit of Donda” – Kanye’s deceased mother.

He goes a step further than seizing the credit for his success. He sticks the boot into those beneath him on the social ladder.

Why can’t losers never lose in peace? (Yeah, yeah, watch it)
Ain’t nobody ’round me losing sleep

The witty play on words in “Yeah, yeah, watch it” aside, this highlights the darker implications of the neo-American ideals of self-determination and faith. If anyone can achieve anything, then the losers deserve everything they get. Or rather, failed to achieve. It is their fault.

A contradiction comes into play here when we place this beside the idea of success as being something ordained from on high. If God chose to make Kanye the king of the world, then God must also have chosen to make Everyday Joe the shitkicker. God made the losers lose.

It’s a mysterious mix of belief in self-determinism and destiny.

Strangely, Kanye chooses not to sympathise with “the loser’s” plight, seemingly pre-ordained, but tells them they should stay quiet, not complain, know their place. Such is the face of modern Christianity, fueled by love wealth, prestige and a contradictory belief in the self-made-man.

“Tell the Devil good night, go to sleep” indeed.

Photos of Kanye wearing Junya Watanabe and Commes Des Garcons clothing

There are no shortage of pics of Kanye publicly displaying his love Junya and Commes clothing. Here are some of the shots of him taking his high streetwear, well, to the street.

Japanoscope uses affiliate links, which means that commissions may be received when you click on links to products from partner retailers.

Ashita sekai ga owaru to shite mo Movie & Song Lyrics

あした世界が終わるとしても Ashita sekai ga owaru to shite mo (Even if the world ends tomorrow), is an anime film directed by Yuhei Sakuragi. It based on the 2017 Hulu produced anime series called ソウタイセカイ Sotai Sekai (literally “parallel world” in English but released under the English name The Relative World).

It is CG animation that combines a heartfelt love story with a science fiction, dystopian parallel world story.

Plot of あした世界が終わるとしても Ashita sekai ga owaru to shite mo

Shin is a high school student in a semi-state of mourning for his deceased mother, while his friend Kohori keeps a watchful eye. The two enter into a relationship. While on a date they receive the news of Shin’s death.

A boy, with a striking resemblance to Shin appears, named Jin saying that he is here to protect Shin.

Before long it becomes clear that there is a secret lying behind the death of Shin’s parents. They learn that there exists another, more advanced version of Japan in a parallel universe. Shin’s other-worldly double is Jin who has come to both protect and to destroy certain people from Shin’s world.

What’s more, Kohori also has an alter-ego self. Princess Kotoko is a mortal enemy to shin in the parallel Japan. Shin and Kotori set off on an adventure both to find the truth about their own love, and the mysteries that bind their own world, and the parallel world – a world that may end tomorrow.

Aimyon’s song あした世界が終わるとしても Ashita sekai ga owaru to shite mo

Singer-songwriter Aimyon wrote two songs for the animation, a theme song and a song to be used in the main body of the film. The theme song has the same title as the film “ashita sekai ga owaru to shite mo” and the song used in the main body of the film is called ら、のはなし ra no hanashi (Talking About “Ra”).

Ashita sekai ga owaru to shite mo album & arrangement

The song Ashita sekai ga owaru to shite mo was included as track 10 on Aimyon’s 2016 album “Momentary Sixth Sense”. The song has a classic rock arrangement with slide guitar melodic intros, and synth strings added to give the song a shimmering sense that gives an epic feel to match the film. The song switches between stripped back textures of relatively exposed vocals to more lush textures.

Ashita sekai ga owaru to shite mo lyric themes

The words are written specifically for the film and express the sense of a flawed hero striving to do their best even though they feel under equipped for the task.

Aimyon has said in an interview:

“For me, the title “Even if the world tomorrow is over”,  reflects the difference between the other world and the actual world, and the meaning of wanting to protect people. I thought it would be great if I could write a song with that sprant out of those  keywords. It’s completely faithful to the main character, Makoto Sakuma. Both songs are.”

This motif of the flawed hero doing their best, while feeling like they don’t have the tools for the job, can be seen in other animation, such as Tanjiro in Demon Slayer and the accompanying lyrics to the theme song “Gurenge”. Here too, we get the sense of a person striving in the face of seemingly hopeless odds, held back by their essential internal weakness. These themes are common in Japanese culture where heroes are often seen as pure, yet must overcome a fundamental inner inadequacy to triumph. It is the archetypal view of the “Ganbariya”, a person doing their best. Indeed, it is hard to go a day in everyday Japanese society without hearing someone telling someone else to “ganbaru” – do their best. Often this is seen in the context of a society where being modest is ever-present expectation. In this way, Ashita sekai ga owaru to shite mo, can be seen as an anthem of the modest hero.

Ashita sekai ga owaru to shite mo lyrics

Ashita sekai ga owaru to shite mo Japanese lyrics 

今日も生きているのです

僕は僕の守り方をようやく

知ったのです

退屈な現状それと愛情

感情、どうしよう

いつまでたっても定まらないよ

僕は僕なのになぁ

大切な人も恋も愛も

性も、どうしよう

いつまでたっても守りきれないよ

いつかは消えてしまう

やはり僕は1人では

抱えきれないものばかりで

強くなれない身体に

強さを求めて

この頼りない翼広げて

迎えに来たんだよ

会いに来たんだよ

今はまだ飛べない鳥だけど

最低でも、君だけは守れるように

最低でも、君だけは守れるように

憂鬱なモーニング

それとスローに変わり始めた

いつまでたっても笑えないなぁ

世界が腐りそうなんだ

悲しい物語なんて

幼い頃に聞き飽きたよ

優しい誰かの囁きで

涙が出た 今

もう隠せない何かを抱え

迎えに行くんだよ

会いに行くんだよ

今はまだ伝えられないけど

最悪でも、僕だけはここにいるから

最悪でも、僕だけはここにいるから

失うものが君だとしたら

僕が世界のどこかに

君だけの居場所をつくってあげる

失うものが僕だとしたら

僕が君を守れたという

証拠になるでしょう

この頼りない翼広げて

迎えに来たんだよ

会いに来たんだよ

今はまだ飛べない鳥だけど

最低でも、君だけは守れるように

もう隠せない何かを抱え

迎えに行くんだよ

会いに行くんだよ

今はまだ伝えられないけど

最悪でも、僕だけはここにいるから

最悪でも、僕だけはここにいるから

今日も生きているのです

僕は僕の守り方を知りました

そして君の側にいると決めました

Ashita sekai ga owaru to shite mo Romaji lyrics 

kyou mo ikiteriruno desu

boku wa boku no mamorikata wo

youyaku shittano desu

taikutsu nara genjou soreto aijou

kanjou, doushiyou

itsumade tattemo sadamaranaiyo

boku wa boku nanoni nā

taisetsu na hito mo koi mo ai mo

sei mo, doushiyou

itsu made tattemo mamorikirenaiyo

itsuka wa kiete shimau

yahari boku wa hitori dewa

kakaekirenai mono bakari de

tsuyoku narenai karada no

tsuyosa wo motomete

kono tayori nai tsubasa hirogete

mukae ni kitandayo

ai ni kitandayo

ima wa mada tobenai tori dakedo

saitei demo, kimi dake wa mamoreru youni

saitei demo, kimi dake wa mamoreru youni

yūutsu na mōnin’gu

soreto surōni kawari hajimeta

itsumade tattemo kotaenainā

sekai ga kusari sounanda

kanashii monogatari nante

osanai koro ni kiki akita yo

yasashii dareka no sasayaki de

namida ga deta ima

mou kakusenai nanika wo kakae

mukae ni ikundayo

ai ni ikundayo

ima wa mada tsutaerare naikedo

saiaku demo, boku dake wa koko ni iru kara

saiaku demo, boku dake wa koko ni iru kara

ushinau mono ga kimida to shitara

boku ga sekai no dokoka ni

kimi dake no ibasho wo tsukutte ageru

ushinau mono ga bokuda to shitara

kimi ga boku wo mamoreta to iu

shouko ni naru deshou

kono tayori nai tsubasa hirogete

mukae ni kitandayo

ai ni kitandayo

ima wa mada tobenai tori dakedo

saitei demo, kimi dake wa mamoreru youni

mou kakusenai nanika wo kakae

mukae ni ikundayo

ai ni ikundayo

ima wa mada tsutaerare naikedo

saiaku demo, boku dake wa koko ni iru kara

saiaku demo, boku dake wa koko ni iru kara

kyou mo ikiteiruno desu

boku wa boku no mamorikata wo shirimashita

soshite kimi no soba ni iru to kimemashita

Ashita sekai ga owaru to shite mo lyrics in English

I’m alive again today

I’ve finally figured out my own way of defending myself

Mundane reality, or loving affection

Feelings, what should I do?

I tell you, I just can’t decide!

I can’t help being who I am.

The one I care for, romance, love, 

Sexuality, what should I do?

No matter the passing of time, I can’t fully defend myself

Someday, I will disappear

You know, I’m only one person

All these things I can’t quite hold on to

With a body that is not strong

Seeking out strength

Stretching out these insufficient wings

I’ve come for you!

I’ve come for you!

For now, I’m just a bird that can’t fly

But, if nothing else, I will protect only you

But, if nothing else, I will protect only you

In the depressed morning

Which has begun to slowly change

No matter how time rolls, I just don’t seem to be able to laugh

The world seems like it will rot.

These tragic stories,

I was sick of them even when I was small

Now that tears run down my face 

At someone’s kind whispers

Embracing something that I can no longer hide

I come to you

I tell you, I come to you.

Though right now, I still can’t communicate

If worst comes to worst, I, myself, am here for you

If worst comes to worst, I, myself, am here for you

If all I can lose is you

Somewhere in this world

I will make a place for you alone to be

If all I can lose is myself

Then that will become the proof

That I was able to protect you

Stretching out these insufficient wings

I’ve come for you!

I’ve come for you!

For now, I’m just a bird that can’t fly

But, if nothing else, I will protect only you

Embracing something that I can no longer hide

I come to you

I tell you, I come to you.

Though right now, I still can’t communicate

If worst comes to worst, I, myself, am here for you

If worst comes to worst, I, myself, am here for you

I’m alive again today

I’ve finally figured out my own way of defending myself

And I’ve decided to be by your side

Ashita sekai ga owaru to shite mo lyrics (Japanese & English Line by Line)

今日も生きているのです

I’m alive again today

僕は僕の守り方をようやく

知ったのです

I’ve finally figured out my own way of defending myself

退屈な現状それと愛情

Mundane reality, or loving affection

感情、どうしよう

Feelings, what should I do?

いつまでたっても定まらないよ

I tell you, I just can’t decide!

僕は僕なのになぁ

I can’t help being who I am.

大切な人も恋も愛も

The one I care for, romance, love, 

性も、どうしよう

Sexuality, what should I do?

いつまでたっても守りきれないよ

No matter the passing of time, I can’t fully defend myself

いつかは消えてしまう

Someday, I will disappear

やはり僕は1人では

You know, I’m only one person

抱えきれないものばかりで

All these things I can’t quite hold on to

強くなれない身体に

With a body that is not strong

強さを求めて

Seeking out strength

この頼りない翼広げて

Stretching out these insufficient wings

迎えに来たんだよ

I’ve come for you!

会いに来たんだよ

I’ve come for you!

今はまだ飛べない鳥だけど

For now, I’m just a bird that can’t fly

最低でも、君だけは守れるように

But, if nothing else, I will protect only you

最低でも、君だけは守れるように

But, if nothing else, I will protect only you

憂鬱なモーニング

In the depressed morning

それとスローに変わり始めた

Which has begun to slowly change

いつまでたっても笑えないなぁ

No matter how time rolls, I just don’t seem to be able to laugh

世界が腐りそうなんだ

The world seems like it will rot.

悲しい物語なんて

These tragic stories,

幼い頃に聞き飽きたよ

I was sick of them even when I was small

優しい誰かの囁きで

Now that tears run down my face 

涙が出た 今

At someone’s kind whispers

もう隠せない何かを抱え

Embracing something that I can no longer hide

迎えに行くんだよ

I come to you

会いに行くんだよ

I tell you, I come to you.

今はまだ伝えられないけど

Though right now, I still can’t communicate

最悪でも、僕だけはここにいるから

If worst comes to worst, I, myself, am here for you

最悪でも、僕だけはここにいるから

If worst comes to worst, I, myself, am here for you

失うものが君だとしたら

If all I can lose is you

僕が世界のどこかに

Somewhere in this world

君だけの居場所をつくってあげる

I will make a place for you alone to be

失うものが僕だとしたら

If all I can lose is myself

僕が君を守れたという

Then that will become the proof

証拠になるでしょう

That I was able to protect you

この頼りない翼広げて

Stretching out these insufficient wings

迎えに来たんだよ

I’ve come for you!

会いに来たんだよ

I’ve come for you!

今はまだ飛べない鳥だけど

For now, I’m just a bird that can’t fly

最低でも、君だけは守れるように

But, if nothing else, I will protect only you

もう隠せない何かを抱え

Embracing something that I can no longer hide

迎えに行くんだよ

I come to you

会いに行くんだよ

I tell you, I come to you.

今はまだ伝えられないけど

Though right now, I still can’t communicate

最悪でも、僕だけはここにいるから

If worst comes to worst, I, myself, am here for you

最悪でも、僕だけはここにいるから

If worst comes to worst, I, myself, am here for you

今日も生きているのです

I’m alive again today

僕は僕の守り方をようやく

知ったのです

I’ve finally figured out my own way of defending myself

そして君の側にいると決めました

And I’ve decided to be by your side

あした世界が終わるとしても Ashita sekai ga owaru to shite mo (Even if the world ends tomorrow), is an anime film directed by Yuhei Sakuragi. It based on the 2017 Hulu produced anime series called ソウタイセカイ Sotai Sekai (literally “parallel world” in English but released under the English name The Relative World).

It is CG animation that combines a heartfelt love story with a science fiction, dystopian parallel world story.

Plot of あした世界が終わるとしても Ashita sekai ga owaru to shite mo

Shin is a high school student in a semi-state of mourning for his deceased mother, while his friend Kohori keeps a watchful eye. The two enter into a relationship. While on a date they receive the news of Shin’s death.

A boy, with a striking resemblance to Shin appears, named Jin saying that he is here to protect Shin.

Before long it becomes clear that there is a secret lying behind the death of Shin’s parents. They learn that there exists another, more advanced version of Japan in a parallel universe. Shin’s other-worldly double is Jin who has come to both protect and to destroy certain people from Shin’s world.

What’s more, Kohori also has an alter-ego self. Princess Kotoko is a mortal enemy to shin in the parallel Japan. Shin and Kotori set off on an adventure both to find the truth about their own love, and the mysteries that bind their own world, and the parallel world – a world that may end tomorrow.

Aimyon’s song あした世界が終わるとしても Ashita sekai ga owaru to shite mo

<blockquote class=”instagram-media” data-instgrm-captioned data-instgrm-permalink=”https://www.instagram.com/p/CQiShPRAiHL/?utm_source=ig_embed&amp;utm_campaign=loading” data-instgrm-version=”13″ style=” background:#FFF; border:0; border-radius:3px; box-shadow:0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width:540px; min-width:326px; padding:0; width:99.375%; width:-webkit-calc(100% – 2px); width:calc(100% – 2px);”><div style=”padding:16px;”> <a href=”https://www.instagram.com/p/CQiShPRAiHL/?utm_source=ig_embed&amp;utm_campaign=loading” style=” background:#FFFFFF; line-height:0; padding:0 0; text-align:center; text-decoration:none; width:100%;” target=”_blank”> <div style=” display: flex; flex-direction: row; align-items: center;”> <div style=”background-color: #F4F4F4; border-radius: 50%; flex-grow: 0; height: 40px; margin-right: 14px; width: 40px;”></div> <div style=”display: flex; flex-direction: column; flex-grow: 1; justify-content: center;”> <div style=” background-color: #F4F4F4; 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Singer-songwriter Aimyon wrote two songs for the animation, a theme song and a song to be used in the main body of the film. The theme song has the same title as the film “ashita sekai ga owaru to shite mo” and the song used in the main body of the film is called ら、のはなし ra no hanashi (Talking About “Ra”).

Ashita sekai ga owaru to shite mo album & arrangement

The song Ashita sekai ga owaru to shite mo was included as track 10 on Aimyon’s 2016 album “Momentary Sixth Sense”. The song has a classic rock arrangement with slide guitar melodic intros, and synth strings added to give the song a shimmering sense that gives an epic feel to match the film. The song switches between stripped back textures of relatively exposed vocals to more lush textures.

Ashita sekai ga owaru to shite mo lyric themes

The words are written specifically for the film and express the sense of a flawed hero striving to do their best even though they feel under equipped for the task.

Aimyon has said in an interview:

“For me, the title “Even if the world tomorrow is over”,  reflects the difference between the other world and the actual world, and the meaning of wanting to protect people. I thought it would be great if I could write a song with that sprant out of those  keywords. It’s completely faithful to the main character, Makoto Sakuma. Both songs are.”

This motif of the flawed hero doing their best, while feeling like they don’t have the tools for the job, can be seen in other animation, such as Tanjiro in Demon Slayer and the accompanying lyrics to the theme song “Gurenge”. Here too, we get the sense of a person striving in the face of seemingly hopeless odds, held back by their essential internal weakness. These themes are common in Japanese culture where heroes are often seen as pure, yet must overcome a fundamental inner inadequacy to triumph. It is the archetypal view of the “Ganbariya”, a person doing their best. Indeed, it is hard to go a day in everyday Japanese society without hearing someone telling someone else to “ganbaru” – do their best. Often this is seen in the context of a society where being modest is ever-present expectation. In this way, Ashita sekai ga owaru to shite mo, can be seen as an anthem of the modest hero.

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Ashita sekai ga owaru to shite mo lyrics

Ashita sekai ga owaru to shite mo Japanese lyrics 

今日も生きているのです

僕は僕の守り方をようやく

知ったのです

退屈な現状それと愛情

感情、どうしよう

いつまでたっても定まらないよ

僕は僕なのになぁ

大切な人も恋も愛も

性も、どうしよう

いつまでたっても守りきれないよ

いつかは消えてしまう

やはり僕は1人では

抱えきれないものばかりで

強くなれない身体に

強さを求めて

この頼りない翼広げて

迎えに来たんだよ

会いに来たんだよ

今はまだ飛べない鳥だけど

最低でも、君だけは守れるように

最低でも、君だけは守れるように

憂鬱なモーニング

それとスローに変わり始めた

いつまでたっても笑えないなぁ

世界が腐りそうなんだ

悲しい物語なんて

幼い頃に聞き飽きたよ

優しい誰かの囁きで

涙が出た 今

もう隠せない何かを抱え

迎えに行くんだよ

会いに行くんだよ

今はまだ伝えられないけど

最悪でも、僕だけはここにいるから

最悪でも、僕だけはここにいるから

失うものが君だとしたら

僕が世界のどこかに

君だけの居場所をつくってあげる

失うものが僕だとしたら

僕が君を守れたという

証拠になるでしょう

この頼りない翼広げて

迎えに来たんだよ

会いに来たんだよ

今はまだ飛べない鳥だけど

最低でも、君だけは守れるように

もう隠せない何かを抱え

迎えに行くんだよ

会いに行くんだよ

今はまだ伝えられないけど

最悪でも、僕だけはここにいるから

最悪でも、僕だけはここにいるから

今日も生きているのです

僕は僕の守り方を知りました

そして君の側にいると決めました

Ashita sekai ga owaru to shite mo Romaji lyrics 

kyou mo ikiteriruno desu

boku wa boku no mamorikata wo

youyaku shittano desu

taikutsu nara genjou soreto aijou

kanjou, doushiyou

itsumade tattemo sadamaranaiyo

boku wa boku nanoni nā

taisetsu na hito mo koi mo ai mo

sei mo, doushiyou

itsu made tattemo mamorikirenaiyo

itsuka wa kiete shimau

yahari boku wa hitori dewa

kakaekirenai mono bakari de

tsuyoku narenai karada no

tsuyosa wo motomete

kono tayori nai tsubasa hirogete

mukae ni kitandayo

ai ni kitandayo

ima wa mada tobenai tori dakedo

saitei demo, kimi dake wa mamoreru youni

saitei demo, kimi dake wa mamoreru youni

yūutsu na mōnin’gu

soreto surōni kawari hajimeta

itsumade tattemo kotaenainā

sekai ga kusari sounanda

kanashii monogatari nante

osanai koro ni kiki akita yo

yasashii dareka no sasayaki de

namida ga deta ima

mou kakusenai nanika wo kakae

mukae ni ikundayo

ai ni ikundayo

ima wa mada tsutaerare naikedo

saiaku demo, boku dake wa koko ni iru kara

saiaku demo, boku dake wa koko ni iru kara

ushinau mono ga kimida to shitara

boku ga sekai no dokoka ni

kimi dake no ibasho wo tsukutte ageru

ushinau mono ga bokuda to shitara

kimi ga boku wo mamoreta to iu

shouko ni naru deshou

kono tayori nai tsubasa hirogete

mukae ni kitandayo

ai ni kitandayo

ima wa mada tobenai tori dakedo

saitei demo, kimi dake wa mamoreru youni

mou kakusenai nanika wo kakae

mukae ni ikundayo

ai ni ikundayo

ima wa mada tsutaerare naikedo

saiaku demo, boku dake wa koko ni iru kara

saiaku demo, boku dake wa koko ni iru kara

kyou mo ikiteiruno desu

boku wa boku no mamorikata wo shirimashita

soshite kimi no soba ni iru to kimemashita

Ashita sekai ga owaru to shite mo lyrics in English

I’m alive again today

I’ve finally figured out my own way of defending myself

Mundane reality, or loving affection

Feelings, what should I do?

I tell you, I just can’t decide!

I can’t help being who I am.

The one I care for, romance, love, 

Sexuality, what should I do?

No matter the passing of time, I can’t fully defend myself

Someday, I will disappear

You know, I’m only one person

All these things I can’t quite hold on to

With a a body that is not strong

Seeking out strength

Stretching out these insufficient wings

I’ve come for you!

I’ve come for you!

For now, I’m just a bird that can’t fly

But, if nothing else, I will protect only you

But, if nothing else, I will protect only you

In the depressed morning

Which has begun to slowly change

No matter how time rolls, I just don’t seem to be able to laugh

The world seems like it will rot.

These tragic stories,

I was sick of them even when I was small

Now that tears run down my face 

At someone’s kind whispers

Embracing something that I can no longer hide

I come to you

I tell you, I come to you.

Though right now, I still can’t communicate

If worst comes to worst, I, myself, am here for you

If worst comes to worst, I, myself, am here for you

If all I can lose is you

Somewhere in this world

I will make a place for you alone to be

If all I can lose is myself

Then that will become the proof

That I was able to protect you

Stretching out these insufficient wings

I’ve come for you!

I’ve come for you!

For now, I’m just a bird that can’t fly

But, if nothing else, I will protect only you

Embracing something that I can no longer hide

I come to you

I tell you, I come to you.

Though right now, I still can’t communicate

If worst comes to worst, I, myself, am here for you

If worst comes to worst, I, myself, am here for you

I’m alive again today

I’ve finally figured out my own way of defending myself

And I’ve decided to be by your side

Ashita sekai ga owaru to shite mo lyrics (Japanese & English Line by Line)

今日も生きているのです

I’m alive again today

僕は僕の守り方をようやく

知ったのです

I’ve finally figured out my own way of defending myself

退屈な現状それと愛情

Mundane reality, or loving affection

感情、どうしよう

Feelings, what should I do?

いつまでたっても定まらないよ

I tell you, I just can’t decide!

僕は僕なのになぁ

I can’t help being who I am.

大切な人も恋も愛も

The one I care for, romance, love, 

性も、どうしよう

Sexuality, what should I do?

いつまでたっても守りきれないよ

No matter the passing of time, I can’t fully defend myself

いつかは消えてしまう

Someday, I will disappear

やはり僕は1人では

You know, I’m only one person

抱えきれないものばかりで

All these things I can’t quite hold on to

強くなれない身体に

With a body that is not strong

強さを求めて

Seeking out strength

この頼りない翼広げて

Stretching out these insufficient wings

迎えに来たんだよ

I’ve come for you!

会いに来たんだよ

I’ve come for you!

今はまだ飛べない鳥だけど

For now, I’m just a bird that can’t fly

最低でも、君だけは守れるように

But, if nothing else, I will protect only you

最低でも、君だけは守れるように

But, if nothing else, I will protect only you

憂鬱なモーニング

In the depressed morning

それとスローに変わり始めた

Which has begun to slowly change

いつまでたっても笑えないなぁ

No matter how time rolls, I just don’t seem to be able to laugh

世界が腐りそうなんだ

The world seems like it will rot.

悲しい物語なんて

These tragic stories,

幼い頃に聞き飽きたよ

I was sick of them even when I was small

優しい誰かの囁きで

Now that tears run down my face 

涙が出た 今

At someone’s kind whispers

もう隠せない何かを抱え

Embracing something that I can no longer hide

迎えに行くんだよ

I come to you

会いに行くんだよ

I tell you, I come to you.

今はまだ伝えられないけど

Though right now, I still can’t communicate

最悪でも、僕だけはここにいるから

If worst comes to worst, I, myself, am here for you

最悪でも、僕だけはここにいるから

If worst comes to worst, I, myself, am here for you

失うものが君だとしたら

If all I can lose is you

僕が世界のどこかに

Somewhere in this world

君だけの居場所をつくってあげる

I will make a place for you alone to be

失うものが僕だとしたら

If all I can lose is myself

僕が君を守れたという

Then that will become the proof

証拠になるでしょう

That I was able to protect you

この頼りない翼広げて

Stretching out these insufficient wings

迎えに来たんだよ

I’ve come for you!

会いに来たんだよ

I’ve come for you!

今はまだ飛べない鳥だけど

For now, I’m just a bird that can’t fly

最低でも、君だけは守れるように

But, if nothing else, I will protect only you

もう隠せない何かを抱え

Embracing something that I can no longer hide

迎えに行くんだよ

I come to you

会いに行くんだよ

I tell you, I come to you.

今はまだ伝えられないけど

Though right now, I still can’t communicate

最悪でも、僕だけはここにいるから

If worst comes to worst, I, myself, am here for you

最悪でも、僕だけはここにいるから

If worst comes to worst, I, myself, am here for you

今日も生きているのです

I’m alive again today

僕は僕の守り方をようやく

知ったのです

I’ve finally figured out my own way of defending myself

そして君の側にいると決めました

And I’ve decided to be by your side

Find more Japanese song lyric translations here


Fuji Rock 2021 Festival Headliners

Here’s a list of the headliners from each of the three days of the 2021 Fuji Rock Festival, with a video from each band.

Fuji Rock 2021 had a mix of musicians from the Japanese scene, with no international artists due to Covid. There was a bit of an emphasis on “legacy” artists and honoring legends of the Japanese music scene. Nostalgia and homage included a massive tribute to Japanese rock legend Imawano Kiyoshiro with a star-studded super-band, including members of luminary bands including the Blue Hearts and Unicorn, playing a selection of Imawano’s hits. Stalwarts of the Japanese music scene, including Denki Groove, Sunny Day Service, and veteran Char took up prominent spots in the evenings. This was mixed with newer crowd favorites including 4s4ki, Chai, and Kan Sano.

Fuji Rock 2021 Headliners Playlist

Information about Fuji Rock 2021 Japanese Band Headliners

Fuji Rock Online Schedule Day 1

Vaundy

Vaundy is a singer songwriter. He also a visual artist who collaborates with creators to produce artwork and video.

He quickly came to the attention of the Japanese listening public in 2019 with his song “Tokyo Flash” reaching 2 million views in as many months.

In 2020, he was included in Spotify’s 10 next breakthrough artists to watch. 

His music ranges between rap and electro-infused indie sounds.

Radwimps

Radwimps have been around since 2001 and known for their heartfelt, epicly orchestrated sound. They are probably best known in the west for their music that was prominently used in major animation movies Your Name and Weathering With You.

Metafive

Metafive is a “supergroup” with members of YMO, Denki Groove, Deee-Lite and Cornelius. In the tradition of bands, such as “The Band” in the USA, they began their existence as the backing group for artist Yukihiro Takashi on his 2014 tour.

Their sound reflects the members inclinations with a strong electronic element mixed with live rock instruments and front vocals delivered in flawless English. They released an album that reached number 13 in Japan’s Oricon charts. They had another slated for release in 2021, but the release got caught up in the controversy around member Oyamada Keigo’s bullying comments.

Tempalay

Tempalay have a laid back, psych, dream rock sound with a groovy swaying feel to it. With it’s low-fi inflections mixing synths, samples and rock elements, they are somewhat reminiscent of artists such as Australia’s Tame Impala. Their sound also mixes in sounds from asian traditional instruments and elements considered to be more part of the “world music” scene.

The band formed out of a meeting of musicians at Fuji Rock Festival’s “Rookie a Go-Go” stage in 2015. To date they have released 3 albums.

Kan Sano

Fuji Rock Online Schedule Day 2

King Gnu

King Gnu is based around singer songwriter Daiki Tsuneta and they make highly produced, smooth, rock pop. Their sound is somewhat reminiscent of AOR sounds of the 70s and 80s, but with a modern production aesthetic and more heartfelt strain to it.

The band started out as “Mrs.Vinci” in 2013 and changed their name to King Gnu in 2017, the same year they played at Fuji Rock. They would again perform at the prestigious rock festival in 2018.

In 2019 they scored their first No.1 on the the Billboard Japan Download Chart with their song “Kasa.

The Alexx

The Alexx played at Fuji Rock in 2019 before they had officially released any music. They have a sound that is psych-rock influenced, with copious effected guitar swirls coupled with exotic, asian inflected vocalisations.

They released their debut single “Beatwave” in September 2019 and their first album “Vantablack” in November. “Beatwave (Takkyu Ishino Remix)” was released in 2020 followed by two new songs. The epic  “Something Great”, which clocks in at 9 minutes and 46 seconds, and their first Japanese lyrics song “Outsider”. 

They appeared in “KEEP ON FUJI ROCKIN’II” held on New Year’s Eve 2020.

Number Girl

Number girl started in 1995 in Fukuoka, but got their start in playing gigs around Tokyo’s hip Shimokitazawa area and releasing a major label debut in 1998. Their sound is very much influenced by the 90s grunge and punk rock of the time making music that is akin to the likes of Dinosaur Jnr, Pavement or Sonic Youth.

In 1999 their single “Destruction Baby” was produced by Flaming Lips producer Dave Friddman, who went on to produce an album with the band. The band broke up in 2002 and singer Shutoku Mukai went on to form the successful Zazen Boys.

Number Girl reformed in 2019.

The Spellbound

The Spellbound are a duo formed in 2020. They create driving, emotional synth-inflected rock with soaring vocals and complex drum machine patterns.

The band was formed when Boom Boom Satellites’ Masayuki Nakano put out the word on social media in 2019 that he was looking for a vocalist after the death of his former band member Michiyuki Kawashima four years earlier. Yusuke Kobayashi of The Novembers was the first to throw his hat in the ring, and they formed their new duo in December 2020. From the start of 2021, they released 5 songs in as many months, replete with high end production and video clips.

Char

Char is one Japan’s most pre-eminent guitar heroes in the vein of Clapton, Beck, Stevie-Ray Vaughan. Starting out as a session muso in the 1970s, Char began releasing solo albums in the late 70s and collaborating with other major rock n roll figures including Imawano Kiyoshiro. 

His music ranges from the heavily blues influenced sounds that also influenced his western guitar-god heroes, through to prog-rock and jazz. He often tops Japanese “Best Japanese guitarist” lists and at this stage is very much the “venerable old man” of Japanese guitar rock. And, yes, he undeniably shreds.

Rovo

Rovo are perhaps the ultimate space-psych-rock band out there. Far out there. Their soaring electric violin lines over a driving rock, double drunkit, grooves them sets them apart from many other jam bands out there. Rhythmically they often set totally different time signatures and patterns against each other to create a live DJ-style crossfade that phases.

Rovo has clear similarities with legendary underground alt-rock, experimental ground breakers The Boredoms, a band that founding member Seiichi Yamamoto is an ex-member of. Founded in 1996 in Tokyo, the band also features Bondage Fruit electric violinist Yuji Katsui, and synthesizer/effects technician Tatsuki Masuko, and drummers Yasuhiro Yoshigaki and Youichi Okabe. The sound is underpinned by the driving bass lines of Jin Harada. 

Perhaps another equivalent band to draw a comparison to here would be Australia’s violin lead improv group Dirty Three.

Fuji Rock Online Schedule Day 3

Denki Groove

Denki Groove are perhaps Japan’s preeminent electro-pop band in the style of, say, a New Order or Spandau Ballet mixed with the 90s club sounds of a Chemical Brothers.

Founded in 1989, under the shadow of Mount Fuji, in Shizuoka by Takkyu Ishino and Pierre Taki.

They made their major label debut in 1991 with Flash Papa, which was released in 1991. They released a series of commercially well received albums in the 90’s before taking a hiatus in the early 2000s.

In 2019, Pierre Taki was arrested on suspicion of cocaine possession.  Sony subsequently took Denki Groove’s recordings off the shelves and stopped streaming the group’s music. Streaming was restarted in 2020.

Chai

Chai is one of  those bands that is perhaps better known outside of their own country as inside and follows in the tradition of Japanese bands embraced by the international rock underground, such as Shonen Knife. They have released music on the legendary Sub Pop label and performed at the 2019 Pitchfork Festival in Chicago.

Originally starting in Nagoya in 2012, the band got perhaps their first big opportunity in 2016 when they won a Sony music competition to perform at a Japanese music stage at the venerable SXSW festival in the U.S.

Their sound is an upbeat indie rock, with bright summery vibes. They switch frequently in live performances from synth to guitar and back. They wear their “girl-band” tag with pride, and their tendency to subvert contemporary ideas of “kawaii” and “cuteness” in Japanese has been frequently commented on. The band themselves refer to concepts such as “neo-kawaii” that doesn’t bow to conventional concepts of physical beauty.

Susumu Hirasawa + Ejin

4s4ki

Born in Saitama in 1998, named Asaki, 4s4ki is a solo singer-songwriter 4s4ki creates music that blends auto-tune, rap and sung vocals. 

Asaki has also done arranging and track creation for the “SoundOrion” unit, GADORO, Shuri Uchida, media mix works including “Kemono Friends” and “SHOW BY ROCK !!”.

Her live performances feature elaborate set design, with Asaki switching from unadorned keyboard and vocals songs to heavily affected vocal and beat tracks.

OAU (Overground Acoustic Underground)

OAU is a Japanese acoustic band formed in 2005. The band features vocals in English by Marty from “Johnsons Motorcar” and 4 members of Japanese band Brahman. 

They play music heavily influenced by the traditional music traditions of Ireland, UK and regional American country music traditions.