Author: Du Enki

[Announcement ’18 Oct. 19]

I don’t as yet know what happened and what is going to happen.
The following announcement and message were deleted at the end of October 2018.

Important Announcement from BABYMETAL

http://www.babymetal.com/news/?id=28
Posted : 2018.10.19

Thank you for continually supporting BABYMETAL. We would like to inform you of BABYMETAL’s new beginning which will be effective starting this month’s BABYMETAL WORLD TOUR 2018 in JAPAN performances.

YUIMETAL had expressed her desire to return performing with the group in the following months after last December’s performance due health concerns. During her absence, both SU-METAL and MOAMETAL as well as the entire staff team had been preparing for her awaited return. However, YUIMETAL came to a decision that she will not be performing at BABYMETAL WORLD TOUR 2018 in JAPAN and that she will no longer be a part of BABYMETAL. We thank her for all of her contributions and wish her all the best in her future endeavors.

This month’s BABYMETAL WORLD TOUR 2018 in JAPAN will mark the rebirth in which SU-METAL and MOAMETAL form the core of BABYMETAL.

We would like to express our deepest gratitude to the fans for the continued support and look forward in what’s next for BABYMETAL.

Message to fans ↓

ファンの皆様へ / To Our Fans (by Yui MIZUNO)

http://artist.amuse.co.jp/artist/mizuno_yui/
http://artist.amuse.co.jp/artist/20181019/index.html

I have been absent from BABYMETAL’s recent concerts. I am truly sorry for giving trouble to many people.
I had thought again and again, but now it was decided that I leave BABYMETAL.

I am sorry that, deciding in this way, I am going to give trouble to other members and those who are supporting BABYMETAL. And I truly apologize for giving sorrow to our fans who are supporting BABYMETAL.
I had a strong wish to appear on the stage (of BABYMETAL) again, but I am not in perfect health even now and I have a wish to move forward to my own long-lasting dream, so I decided in this way.

I am grateful that I was given many precious experiences as a member of BABYMETAL.
They were such days that I felt I was blessed. When we all smiled and got united in our live concert, it was my joyful and happy time.
I endeavor to move forward so that you can see me again someday as Yui MIZUNO.
I truly thank you for (supporting YUIMETAL) for eight years.

Yui MIZUNO

しばらく欠席が続き、沢山の方にご迷惑をおかけして本当に申し訳ありませんでした。
何度も考え直したのですが、私はこの度BABYMETALを辞めさせていただくことになりました。

この決断でメンバーやBABYMETALを支えてくださっている方々にご迷惑をかけてしまうこと、申し訳なく思っております。そして、BABYMETALを応援してくださっているファンの皆様、悲しませてしまって本当にごめんなさい。
もう1度ステージに立ちたいという強い思いもありましたが今も体調が万全ではないこと、そして以前からの私の夢、水野由結としての夢に向かって進みたいという気持ちもあり、今回このような決断をいたしました。

BABYMETALとして、貴重な経験を沢山させていただき感謝しています。
私は恵まれているなと感じる日々でした。みんなで笑ってひとつになれたライブ、楽しくて幸せな時間でした。
またいつか水野由結として皆様にお会いできるように努力し邁進します。
8年間本当にありがとうございました。

水野 由結

Additional Information about This Matter

  • According to several newspapers (2018 Oct. 20), Amuse Inc. say this doesn’t mean her retirement from entertainment business.
  • According to several tweets about the stockholders meeting of Amuse Inc. (2018 Jun. 24):
        Some stockholder questioned why YUIMETAL was absent from BABYMETAL’s tour and why Amuse Inc. didn’t announce it officially, then Amuse’s president answered that they had never commented and would never comment officially about the future of individual artists and what they could say for sure are Yui MIZUNO regained her health and she was still under contract with Amuse Inc.
        Some other stockholder questioned whether YUIMETAL would come back to BABYMETAL’s stage or not, then Amuse’s president answered that Metal Resistance Chapter 7 was performed by different number of performers, it was an attempt and not permanent, and they neither affirm nor deny YUIMETAL’s coming back.
  • In Sakura Gakuin diary [2018 Mar. 14], Miss Aiko YAMAIDE, a then member of Sakura Gakuin, wrote she made contact with Miss Yui recently, but she didn’t mention Miss Yui’s health though she loves Miss Yui so much. (She said sorry to Miss Yui for having lost the letter from Miss Yui in the backstage of TIF 2014, and Miss Yui answered she was happy to know Miss Aiko had carried her letter right up to the stage.)
  • According to some fan’s tweet [2018 Jul. 22], he met Miss Hana TAGUCHI, a graduate of Sakura Gakuin, the previous day, he asked her about Miss Yui, and she answered Miss Yui was fine.
  • From [2015] to [2017], Miss Hinata SATOH, a graduate of Sakura Gakuin, said several times in her tweets that she took Amuse’s acting lessons together with Miss Yui.
  • Before Miss Yui joined Sakura Gakuin when she was 10 yr., she had appeared in some TV dramas and some stage drama as a child actress. Her own long-lasting dream may be to become an actress.

Continue reading[Announcement ’18 Oct. 19]

[NHK MJ ’16 Apr. 4]

These are the interview parts with English subtitles of this video which is already deleted. This program was broadcast on 2016 Apr. 4th 0:04-0:43(JST) for the first time, and “complete edition” on 2016 May 7th 2:00-2:44(JST) with one more tune (4m20s)… … Continue reading[NHK MJ ’16 Apr. 4]

From Dusk Till Dawn

This page is under construction. This transcription is to be revised.Released on 2016 Apr. 1st, included in “METAL RESISTANCE” (Out-of-Japan edition only).Lyric: ??? / Music: ??? / Arr.: ??? From Dusk Till Dawn … Continue readingFrom Dusk Till Dawn

From Dusk Till Dawn

Released on 2016 Apr. 1st, included in “METAL RESISTANCE” (Out-of-Japan edition only).
Lyric: KITUSNE of METAL GOD, KxBxMETAL, TMETAL / Music: Yuyoyuppe / Arr.: YUPPEMETAL

This song is sung in English, but the lyrics have not been officially published.
This is my incomplete transcription with help of many fans of BABYMETAL.

From Dusk Till Dawn

One only waits
something’s going to come
in one’s way.
I want to take
every going-on toward
what to take.
Something’s going to come.

In the air.
Pray upward
in the air,
in the air.

On the border,
don’t stop for love.
Something’s going to come.
On the border,
don’t stop for love.
Something’s going to come.

Cool.
Dream.
Forever.
A memory.
Heart.
Gone night.
Tomorrow.
You wanna mean.

Look at my face
more day after day,
then reach it’s the same,
so each day’s so same.
I wake from the dream
to keep on dreaming.
The night is so sweet,
but it’s so late.
Break.

All it’s over.
Never rule her.
All it’s over.
Never rule her.

In the air,
in the air.


  TIMINGS OF LINES AND NOTES ARE BELOW.

[i] About This Transcribing

I’ve transcribed (or rather, conjectured) these lyrics on these principles: The singers (native Japanese speakers) pronounced rather clearly (for me, a native Japanese listener), but the audio processing or the backing music made their voices unclear. The lyric writers didn’t use difficult English. The lyric writers wrote (or intended to write) meaningful sentences, but they may have used strange English.

First I transcribed the lyrics with a blank mind. Then I read others’ transcriptions (mainly on 2ch & Reddit).

I’ve listened to the tune many times with half-speed playback, low-cut filtering (to cancel drums & bass), etc. They helped my transcribing but somewhat changed the characteristics of the voices, so I checked my transcription with normal playback. The heading consonants are often masked by the drum sound and the ending consonants after the prolonged vowels are hardly heard, so I’m less sure about these consonants.

From Dusk Till Dawn

Time Transcribed Lyrics Notes
 
0:30.0 :   One only waits 1
0:35.6 :   something’s going to come
0:39.2 :   in one’s way. 2
0:44.8 :   I want to take 3
0:50.3 :   every going-on toward 4
0:54.0 :   what to take. 5
0:57.7 :   Something’s going to come.    
 
1:06.1 :   In the air. 6
1:20.8 :   Pray upward 7
1:28.2 :   in the air,
1:31.9 :   in the air.
 
1:40.2 :   On the border, 8,9,Y?M?
1:43.9 :   don’t stop for love. 10,Y?M?
1:45.7 :   Something’s going to come. S
1:47.6 :   On the border, Y?M?
1:51.2 :   don’t stop for love. Y?M?
1:53.2 :   Something’s going to come. S
 
1:55.1 :   Cool. 11,12,Y
1:56.7 :   Dream. 13,M
1:58.5 :   Forever. 14,S
2:00.2 :   A memory. 15,Y
2:02.3 :   Heart. 16,M
2:04.1 :   Gone night. 17,S
2:05.8 :   Tomorrow. 18,Y
2:07.8 :   You wanna mean. 19,M
 
2:09.7 :   Look at my face
2:11.3 :   more day after day, 20
2:13.2 :   then reach it’s the same, 21
2:15.0 :   so each day’s so same.
2:16.8 :   I wake from the dream 22
2:18.9 :   to keep on dreaming.
2:20.6 :   The night is so sweet, 23
2:22.4 :   but it’s so late. 23,24
2:23.5 :   Break. 25
 
2:39.3 :   All it’s over. 26
2:42.9 :   Never rule her. 27
2:46.6 :   All it’s over.
2:50.3 :   Never rule her.
 
3:07.9 :   In the air,
3:22.6 :   in the air.
 

Notes

  1. The lines marked with “Y” are sung by YUIMETAL, with “M” by MOAMETAL, with “S” & without mark by SU-METAL (added on 2017 Mar. 31).
  2. I think I hear the ending “s” of “something’s” in the next line, so I think the lyric writers mean “one only waits that something is going to come in one’s way”.
  3. This might be “in one’s face”.
  4. This might be “one wants to take”.
  5. It sounds to me like “every go to twa”, so this line is almost fabrication.
  6. The last word may be other than “take”.
  7. I think I hear “air (= eə:)” on half-speed playback.
  8. This sounds to me like “pray upway(s)” but I can’t find such an adverb in my dictionaries, so I think it is “pray upward(s)”, but it might be “pray up ways”.
  9. I think I hear “on the border” as Anonymous san on 2016 June 9th said.
  10. I think I hear YUIMETAL’s voice, but it may be MOAMETAL’s (added on 2017 Mar. 31).
  11. I think this is “don’t stop for love”, following 2016nobody san on Reddit, but the last word might be other than “love”.
  12. I’m not sure whether this section is a mysterious sequence of rather irrelevant words or it consists of rather meaningful sentences (e.g. Cool leaves forever. A memory hurts gone nights. Tomorrow, you wanna mean).
  13. I’m not sure about “cool”.
  14. This might be “leave”.
  15. I’m not sure about “forever”.
  16. It sounds to me like “a memo”, so I think it is “a memory”, but it may be other words.
  17. This might be “hurt”.
  18. I think this is “gone night”, following someone on the internet (sorry for forgetting the name), but it might be “good night”.
  19. I’m not so sure about “tomorrow”.
  20. This might be “you want me”.
  21. Same as “day after day” of this line, I think the vowel “ei” was pronounced nearly to “ii” in the following two lines.
  22. I think I hear “it’s the same”, so I think the lyric writers mean “reach a conclusion that it is the same” or something.
  23. This might be “I’ll wake from the dream”.
  24. These might be “the night is so same, but it’s so real”.
  25. I think I hear other voice than SU-METAL’s, but it might be because of audio processing (added on 2017 Mar. 31).
  26. I think I hear two female voices, but I’m not sure who they are (added on 2017 Mar. 31).
  27. I think this is “all” with noise or something though it sounds to me like “o:z”. I think I hear “it’s” though some fans say this line is “all is over”.
  28. This might be “never ruler”.

Continue readingFrom Dusk Till Dawn

From Dusk Till Dawn

This page is under construction. This transcription is to be revised.Released on 2016 Apr. 1st, included in “METAL RESISTANCE” (Out-of-Japan edition only).Lyric: ??? / Music: ??? / Arr.: ??? From Dusk Till Dawn … Continue readingFrom Dusk Till Dawn

Syncopation

Released on 2016 Apr. 1st, included in “METAL RESISTANCE” (Japanese edition only).
Lyric: NORiMETAL, KxBxMETAL / Music: NORiMETAL / Arr.: MEGMETAL

Syncopation

A hot heartbeat and an urgent impulse
go so wild that I got upset, and they can’t be stopped.
Like, dislike, like, dislike, like.
Like, dislike, like, dislike.

My mind is so full of fantasy that I feel scared.
It shows the near future and is about to overflow.
Like, dislike, like, dislike, like.
Like, dislike, like, dislike.

Ah, lit by the moonlight, with the Metal wings,

turn! Turn! From this world,  [Turn!]
fly up and away dancing!
Beyond the seasons coming and going around,  [Come and go!]
flap the wings and fly on singing!
Let the words of love resound beyond the night.

The beat gets painfully strong.
It shakes me to burning, and it can’t be untangled.
Like, dislike, like, dislike, like.
Like, dislike, like, dislike.

I create a bit of future vision.
The hope to see it swells and is about to burst.
Like, dislike, like, dislike, like.
Like, dislike, like, dislike.

Ah, if the dark night is torn by beams of light,

swing! Swing! Drive melancholy away!  [Swing!]
When I dream of dreams and reach out my hand,
the dazzling dreams come and go around.  [Come and go!]
Their rhythm is the syncopation of love.
Draw the shape of love on the night sky!

From this world, fly up and away!
Swing! Swing! To the sky,   Fly!

Turn! Turn! From this world,  [Turn!]
fly up and away dancing!
The dazzling dreams come and go around.  [Come and go!]
Their rhythm is the syncopation of love.
Turn! Turn!  [Fly away!]
Swing! Swing!  [Fly away!]
Draw the shape of love on the night sky!


  ROMAJI LYRIC AND NOTES ARE BELOW.

[i] About the Grammatical Subjects of the Imperative Sentences

There are several imperative sentences in this lyric. A few of them are the imperatives towards things, which I specify. And I think the rest (marked with “[i]”) are the imperatives towards the speaker oneself because nobody except the heroine appears in this lyric. Japanese people sometimes say first person singular imperative sentences: e.g. I say “Makeru na ore!” (= Don’t be beaten!) to cheer up myself.

There is another possibility that the lyric writers may be addressing these imperatives to the heroine from outside. There are no personal pronouns in the original lyric, but the lyric writers describe the heroine’s mental state as if they saw it from inside, so I supplement the sentences with “I”, “my”, & “me”. They, however, may freely move their point of view from inside her (in the verses) to outside her (in the choruses).

There is yet another possibility that the grammatical subjects of these imperatives might be her love, or her dreams, or something, but I think “utai nagara” (= singing) is difficult for something other than a person to do. For Japanese imperative sentences towards things, see also the note [i] of “Amore”.

Syncopation

Romaji Lyric English Translation Notes
 
Atsui kodoo takamatta shoodoo A hot heartbeat and an urgent impulse
aseru hodo hajikete tomara-nai. go so wild that I got upset, and they can’t be stopped. 1
Suki. Kirai. Suki. Kirai. Suki. Like, dislike, like, dislike, like. 2,MY
Suki. Kirai. Suki. Kirai. Like, dislike, like, dislike. MY
 
Kowai kurai afureta moosoo My mind is so full of fantasy that I feel scared.
chikai mirai utsushite kobore soo. It shows the near future and is about to overflow.
Suki. Kirai. Suki. Kirai. Suki. Like, dislike, like, dislike, like. 2,MY
Suki. Kirai. Suki. Kirai. Like, dislike, like, dislike. MY
 
Aa tsukiyo ga terashita metaru no tsubasa de Ah, lit by the moonlight, with the Metal wings, 3
 
maware! Maware! Kono sekai kara  [Maware!] turn! Turn! From this world,  [Turn!] 4,[i]
mai-tonde yuke, odori nagara! fly up and away dancing! 5,[i]
Meguri meguru kisetsu o koete
    [Megure!]
Beyond the seasons coming and going around,
    [Come and go!]
6,7
habataite yuke, utai nagara! flap the wings and fly on singing! 8,9,[i]
Ai no kotoba hibike, yoru o koete! Let the words of love resound beyond the night. 10
 
Itai hodo takanaru biito The beat gets painfully strong. 11
moeru hodo furuete hodoke-nai. It shakes me to burning, and it can’t be untangled. 12
Suki. Kirai. Suki. Kirai. Suki. Like, dislike, like, dislike, like. 2,MY
Suki. Kirai. Suki. Kirai. Like, dislike, like, dislike. MY
 
Mirai yosoozu o chotto soozoo. I create a bit of future vision.
Mitai kitai fukurande hajike soo. The hope to see it swells and is about to burst.
Suki. Kirai. Suki. Kirai. Suki. Like, dislike, like, dislike, like. 2,MY
Suki. Kirai. Suki. Kirai. Like, dislike, like, dislike. MY
 
Aa yamiyo o kirisaku hikari ga sashitara Ah, if the dark night is torn by beams of light, 13
 
yurete yurete yuuutsu o tobase!  [Yurete!] swing! Swing! Drive melancholy away!  [Swing!] 14,[i]
Yume ni yume-mite te o nobaseba When I dream of dreams and reach out my hand, 15
meguri meguru mekurumeku yume.
    [Megure!]
the dazzling dreams come and go around.
    [Come and go!]
6,7
Rizumu wa ai no shinkopeeshon. Their rhythm is the syncopation of love.
Ai no katachi egake, yoru no sora ni! Draw the shape of love on the night sky! 16,[i]
 
Kono sekai kara mai-tonde yuke! From this world, fly up and away! 5,[i]
Yurete yurete sora e   FLY! Swing! Swing! To the sky,   Fly! 17,[i]
 
Maware! Maware! Kono sekai kara  [Maware!] Turn! Turn! From this world,  [Turn!]
mai-tonde yuke, odori nagara! fly up and away dancing!
Meguri meguru mekurumeku yume.
    [Megure!]
The dazzling dreams come and go around.
    [Come and go!]
Rizumu wa ai no shinkopeeshon. Their rhythm is the syncopation of love.
Maware! Maware! [Tonde yuke!] Turn! Turn!  [Fly away!]
Yurete yurete! [Tonde yuke!] Swing! Swing!  [Fly away!]
Ai no katachi egake, yoru no sora ni! Draw the shape of love on the night sky! 16,[i]
 

Notes

  1. The lines marked with “MY” & the enclosed phrases [—] are sung by MOAMETAL & YUIMETAL (added on 2017 Mar. 31).
  2. “Hajikete” (= hajikeru) means to burst open or to jump away, but probably neither the heart nor the impulse have yet burst. I changed the translation from “rush me” to “go wild” on 2016 Jul. 10th.
  3. “Suki, kirai, suki…” may come from “hana uranai” (= flower fortune-telling) (thanks to Anonymous san on 2016 May 18). A person holds a flower with many petals and picks off petals one by one saying “he/she loves me”, “loves me not”, “loves me”… (there are several variations around the world). What one says with the last petal is the result of the fortune-telling.
        This sequence appears 4 times. Considering the preceding lines, the 2nd & the 4th are likely to mean “he loves me, he loves me not…” (as Anonymous san said), but the 1st & the 3rd sound to me as if expressing she loves him but dislikes an uneasy state of loving rather than she suddenly starts fortune-telling.
        On the choreography of this part, YUIMETAL & MOAMETAL put their index finger on their lips (the sign of “Be silent!” or “Keep it secret!” in Japan) and push their open palm forward (the sign of rejection in Japan). I think these signs are not fit for “he likes/dislikes”. I changed the translation of the 2nd & the 4th back from “he likes/dislikes me” “like/dislike” on 2017 Jul. 18th (sorry for late update).
  4. It is “Turn with the Metal wings which are lit by the moonlight!” in the standard English word order.
  5. It is “Fly up and away dancing from this world!” in the standard English word order.
  6. “Mai-tonde yuke” (= mai-tobu) is somewhat ambiguous. “Mai” (= mau) originally means to turn/revolve. It also means to slow-dance, to ride on the wind, etc. I’m not sure whether the lyric writers imply some round motion or only mean flying away. I changed the translation from “fly (dancing) away” to “fly up and away” on 2016 Jul. 10th.
  7. “Meguru” means to move around. “Meguri meguru” expresses a chain of movements (or a causal chain). Here it means “winter goes and spring comes, and spring goes and summer comes, and…” or “one dream goes and another dream comes, and…”.
  8. This “megure!” (= come and go!) is (probably) the imperative towards the seasons/dreams.
  9. “Habataite” (= habataku) means to flap one’s wings, and “yuke” (= yuku) means to go.
  10. The preceding line (= “beyond…”) modifies “yuke”. That is “go (= fly) on beyond the seasons…”. I changed the translation from “fly away” to “fly on” on 2016 Jul. 10th.
  11. “Hibike!” (= resound!) is the imperative towards “ai no kotoba” (= the words of love). I changed the translation from “sound” to “resound” on 2017 Jan. 22th.
  12. I changed the translation from “the beat gets so strong that I feel pain” to “the beat gets painfully strong” on 2017 Jul. 18th.
  13. It means “it shakes me so hard that I (am about to) burn”.
  14. Literally “Swing if the light that tears the dark night shines!”
  15. It means “Swing and swing and drive melancholy away!” or “Drive melancholy away by swinging and swinging!” or something. “Yurete” is the conjunctive form (連用形; ren’yôkei) of “yureru” (= swing). It is dependent on the context what relation the verb in this form has to the main verb.
  16. “Yume ni yume-mite” (= —miru) is ambiguous. Some people use this phrase for “dreaming of a dream” (= the state of indulging in one’s dreamy feeling itself rather than dreaming of something) in association with “koi ni koi suru” (= falling in love with love). Some people use it for emphasizing: i.e. dreaming and dreaming of something. And traditionally it meant to dream in a dream and expressed a very vague vision/feeling.
        She may dream and dream of her lover if she dreams of something other than dreams. I changed the translation from “If I dream” to “When I dream” on 2016 Jul. 10th.
  17. I’m not sure whether the imperative “Draw…!” is towards some person or towards the dazzling dreams which come and go around. If not supplemented otherwise, the grammatical subject is usually supposed to be something that appears just above (= “the dazzling dreams”). In the last section, however, the last three imperatives are supposed to have the same grammatical subject which is unlikely to be “the dazzling dreams”. See also note [i] above. (Added on 2017 Jan. 22.)
  18. It means “Swing and swing and fly to the sky!”.
        “FLY” may be sung by MOAMETAL & YUIMETAL, but I’m not sure because of audio processing (appended on 2017 Mar. 31).

Continue readingSyncopation

Amore

Released on 2016 Apr. 1st, included in “METAL RESISTANCE”
Lyric: NORiMETAL, MKMETAL, KxBxMETAL / Music: NORiMETAL / Arr.: Kyôtô

This song is SU-METAL’s solo.

Amore  –Aoboshi–  ( Love –Blue Star-)

Let the words of love resound into the night sky.
Let them bring Amore to outer space.
Breaking through gloomy rain clouds,
one keeps running for twenty-four hours.
One is destined to keep running.

Ripping through the blue darkness,
the moonbeam sticks in a distant place.
Reflecting beautifully off the night flowers,
it dances in a momentary dream.

The eyes of one who made a vow
harbor the dazzling future.
Turning into a blue figure enveloped with light,
now one opens one’s wings.

Let the words of love resound into the night sky.
Let them bring Amore to outer space.
Breaking through gloomy rain clouds,
one keeps running for twenty-four hours.
One is destined to keep running.

Even if I lose sight of you,
the voice of my heart keeps singing.
Even if you are far away,
I keep singing with the voice of my heart.

Let the words of love resound into the night sky.
Let them bring Amore to outer space.
The blue star that shines
brings the life into my hands.

Let the words of love resound into the night sky.
Let them bring Amore to outer space.
Breaking through gloomy rain clouds,
one keeps running for twenty-four hours.
One is destined to keep running.
Let love save the Earth.

Lit up by the crimson moon,
a momentary dream starts again.


  ROMAJI LYRIC AND NOTES ARE BELOW.

[i] About Japanese Imperative Sentences towards Things

In this lyric, there are two imperative sentences towards things: “hibike!” (words, resound!) and “sukue!” (love, save the Earth!). The famous sentence in Christians’ Genesis is a third person imperative “γενηθήτω φῶς” in Ancient Greek and it is translated to “let there be light”, so I translate these imperatives to this “let [noun] [verb]” form.

Linguists say an imperative sentence towards a thing is not a proper one but expresses the speaker’s desire. They say a proper imperative must be such that the speaker can press the listener (= the grammatical subject) to do the action (= the verb). I think, however, such a distinction is a kind of afterthought. For example, when I say “Ore o nikume!” (= Hate me!), I just want to escape from the present difficulty and don’t think about whether the listener can intentionally hate me or not.

The ancient Japanese believed that spoken words have a magical power that can make the content of the sentence come true. That is, all spoken words are something like the magical command “Open, sesame!”. This belief is called “言霊” (kotodama; word soul). Now we don’t learn this belief, but speaking a pessimistic expectation is still blamed with “Engi demo nai!” (= It becomes an ill omen to say that!).

When I say such imperative sentences as “Hate me!” or those towards things, my feeling is rather like saying a magical command than the way linguists analyze them. Replace this “let [noun] [verb]” form if you know a better translation.

[ii] About the Interpretation of This Lyric

I use the pronoun “one” because there are no grammatical subjects on the original lines and I can’t decide who is referred to. It might be the singer “I”, or the listener, or someone/something represented in this lyric, or not represented, and different persons/things may be hidden on different lines.

Though using some archaic forms like “aoki” (= aoi) and somewhat old-fashioned words, the lyric writers, as noted below, don’t seem to follow the orthodox Japanese usage, so I can’t expect they follow other linguistic rules. It may be the best choice to think this lyric be an aggregate of scenes like a movie trailer (or a dream) such that we couldn’t reconstruct the hidden story from these disconnected scenes even if there might be any story.

I, however, dare to imagine some connections: The 2nd & the last sections seem to be real scenes that the singer sees, and the 3rd section might be a vision she sees or the content of “a momentary dream”. The viewpoint might be moved at the end of the 3rd section, and the singer might see the Earth from outer space in the 4th section (so in the 1st, the 6th & the 7th sections as well). The blue star in the 6th section seems to be the Earth, so “one” that keeps running might be also the Earth because it appears in the corresponding lines of the 1st, the 4th, & the 7th sections. The blue figure in the 3rd section also might represent the Earth, so “one” in the 3rd section might be the personification of the Earth or something. Except for “one”, I can’t find anyone whom the singer may lose sight of, so “you” in the 5th section might refer to “one” who is the personification of the vital principle (or something) of the Earth, and losing sight of him/her might mean the crisis of the ecological system of the Earth or something. Some details may be unfavorable to this imagery, and it may be totally wrong.

Amore  –Aoboshi–  ( Love –Blue Star– *0)

Romaji Lyric English Translation Notes
 
Ai no kotoba hibike yozora e! Let the words of love resound into the night sky. 1,[i]
Uchuu made todokete AMORE! Let them bring Amore to outer space. 2
Yuuutsu na amagumo yabutte Breaking through gloomy rain clouds,
nijuu-yo jikan hashiri tsuzukeru. one keeps running for twenty-four hours. 3,[ii]
Hashiri tsuzukeru sadame. One is destined to keep running.
 
Aoki yami o kirisaite Ripping through the blue darkness, 4
kanata o sasu tsuki no kage. the moonbeam sticks in a distant place. 5
Yoi no hana ni teri-haete Reflecting beautifully off the night flowers, 6
setsuna no yume ni mai odoru. it dances in a momentary dream.
 
Chikai o tateshi hitomi wa The eyes of one who made a vow 7,[ii]
mabayuki mirai o yadoshi, harbor the dazzling future. 8
hikari matoishi aoki sugata ni Turning into a blue figure enveloped with light, 9
saa tsubasa hirogete. now one opens one’s wings. 10
 
Ai no kotoba hibike yozora e! Let the words of love resound into the night sky.
Uchuu made todokete AMORE! Let them bring Amore to outer space.
Yuuutsu na amagumo yabutte Breaking through gloomy rain clouds,
nijuu-yo jikan hashiri tsuzukeru. one keeps running for twenty-four hours.
Hashiri tsuzukeru sadame. One is destined to keep running.
 
Moshimo kimi o miushinatte mo Even if I lose sight of you,
kokoro no koe wa utai tsuzukeru yo. the voice of my heart keeps singing.
Moshimo kimi ga hanarete itemo Even if you are far away,
kokoro no koe de utai tsuzukeru yo. I keep singing with the voice of my heart.
 
Ai no kotoba hibike yozora e! Let the words of love resound into the night sky.
Uchuu made todokete AMORE! Let them bring Amore to outer space.
Kagayaki hanatsu aoki hoshi ga The blue star that shines 11
kono te ni inochi o yadosu. brings the life into my hands. 12
 
Ai no kotoba hibike yozora e! Let the words of love resound into the night sky.
Uchuu made todokete AMORE! Let them bring Amore to outer space.
Yuuutsu na amagumo yabutte Breaking through gloomy rain clouds,
nijuu-yo jikan hashiri tsuzukeru. one keeps running for twenty-four hours.
Hashiri tsuzukeru sadame. One is destined to keep running.
Ai yo chikyuu o sukue! Let love save the Earth. 13,[i]
 
Akaki tsuki ni terasarete Lit up by the crimson moon,
setsuna no yume ga mata hajimaru. a momentary dream starts again.
 

Notes

  1. As brunofoc san on 2016 Apr. 7 told me, “amore” is an Italian word that means “love”, but it is unclear whether “Amore” of this song refers to the love itself or to the person whom “I” love or it is a proper name of someone/something (added on 2017 Apr. 1., sorry for late update).
  2. “Hibike” (= resound) is the imperative form of an intransitive verb, and this line is an imperative towards “ai no kotoba” (= the words of love).
  3. This “todokete” is probably an imperative or requesting sentence. I take this line too as an imperative towards “ai no kotoba” and “Amore” (= love) as the grammatical object. This line might be something like a participial construction “let …, bringing Amore to outer space”, but the meaning is similar.
        If “Amore” is a name of a person or something and this line is an imperative towards him/her, the hidden grammatical object should be “ai no kotoba” (= the words of love), but I think then the previous line too should be an imperative towards him/her using the transitive verb “hibikasero” and its grammatical object should be “ai no kotoba”.
  4. “Running for twenty-four hours” may refer to the rotation of the Earth. Some fan jokingly said this.
  5. “Kirisaite” (= kirisaku) means to tear or open something by a blade, etc. I changed the translation from “cutting” to “ripping” on 2016 Jun. 6th.
  6. “Sasu” has several meanings: to stab (刺す), to point to (指す), to shine in (差す/射す), etc. The form of “[direction] o sasu” usually means to point to, but the kanji “刺す” (to stab/stick) is used in the official lyric. I changed the translation from “reaches” to “sticks in” on 2016 Jun. 6th.
  7. “Teri-haete” (= teri-haeru; 照り映える) usually means some object to look beautiful illuminated by some light, but this line can only be interpreted as the moonbeam to look beautiful reflected by the night flowers. I added “beautifully” on 2016 Jun. 6th.
  8. It is literally “the eyes which made a vow”, but probably it is not eyes but someone that made a vow. I changed the translation from “the one” to “one” on 2016 Jun. 6th.
  9. “Yadoshi” (= yadosu) comes from “yado” (= inn). It means to contain or keep something inside. I changed the translation from “have” to “harbor” on 2016 Jun. 6th.
  10. There is only a noun phrase with the particle “ni” (= to) on this line. It sounds to me as if the main verb “turn into” or something is omitted, but “ni” sometimes links nouns as “X ni Y ni …” (= X & Y & …). I changed the translation of this line on 2016 Jun. 6th.
  11. “Hirogete” is a conjunction form. When a sentence ends with this form, it is often an imperative / requesting expression, but this expression is of spoken Japanese and not fit for this section which has several archaic forms. It sounds to me as if the main verb is omitted: e.g. “Now one opens one’s wings and (flies up).” or possibly an imperative “Now open your wings and (fly up!)”. Or the main verb may be the omitted verb of the previous line: “One turns into a blue figure enveloped with light, now with one’s wings open”.
  12. “Kagayaki hanatsu” is literally “emits (the) shine”. In principle, “hanatsu” can’t be used for the things that shine by reflection, but it seems that the lyric writers don’t follow the orthodox Japanese usage and it refers to the Earth (thanks to brunofoc san on 2016 Apr. 7th). I changed the translation from “glitters” to “shines” on 2016 Jun. 6th.
  13. “Inochi o yadosu” (= to keep a life inside) usually means to become pregnant, but a human hand can’t be pregnant. It seems a difficult metaphor I can’t imagine. I changed the translation from “my hand” to “my hands” on 2016 Jun. 6th.
  14. “yo” of “ai yo” is a vocative particle, and this line is an imperative towards “ai” (= love).

Continue readingAmore

GJ!

Released on 2016 Apr. 1st, included in “METAL RESISTANCE”
Lyric: Nakata Caos, Yuyoyuppe / Music: Yuyoyuppe / Arr.: YUPPEMETAL

This song is sung by BLACK BABYMETAL (MOAMETAL & YUIMETAL).

GJ! (Good Job!) –regular ver.-

The circle mosh of the green commuter train
turns into Wall of Death with the bell and the death growl.
To the right?  To the left?  We’re stray sheep.
Die! Die! Die! Die! Die! Die!

It’s hard for us to climb the stairway to adulthood.
One-step!  Two-step!  Lift up!
We swim across the stormy world by crowd surfing.
Dive! Dive! Dive! Dive!  Let’s go!

More, more, hey!  More, more, hey!  More, more, hey!  [[Let’s try hard!]]
More, more, hey!  More, more, hey!
Lift us up more higher!

Good job!
We need not get irritated!  No!
Be light-hearted!  Take it easy!
Good Job!
Hazy feeling brings us nothing good!  Nothing!
We are the number one when being happy-go-lucky.

Soon after the shop opens, it’s like a mosh’sh pit
with so-so roaring and Wall of Death.
Pushing!  Shoving!  It’s like a crowd pushing game.
Burn! Burn! Burn! Burn! Burn! Burn!

In the breakdown, we do the hardcore mosh.
Forty percent, fifty percent, the prices are down!
We elegantly escape from pressing down and pulling off.
Get! Get! Get! Get!  Let’s go!

More, more, hey!  More, more, hey!  More, more, hey!  [[Let’s try hard!]]
More, more, hey!  More, more, hey!
Give us more extras!

More, more, hey!  More, more, hey!  More, more, hey!  [[Let’s try hard!]]
More, more, hey!  More, more, hey!  More, more, hey!  [[Let’s try hard!]]
More, more, hey!  More, more, hey!  More, more, hey!  [[Let’s try hard!]]
More, more, hey!  More, more, hey!
Lift us up more higher!

It’s transcendent! Perfect!
We give full marks even to weak-kneed persons!!  Yes!!
Don’t be hasty!  Take it easy!
It’s perfect!
Aiming too high brings us nothing good!  Nothing!
We are the number one when being happy-go-lucky.

GJ! –Gohôbi hen– ( Good Job! –Reward ver.- )

Every day we work hard,
so, can we have a bit of our own way today?
If someone objects to us,
bang! Bang! Bang! Bang! Bang! Bang!

Every time we are in one body.
My lovely self, thank you for hard work!
Then, shall we go vigorously?
Buy! Buy! Buy! Buy!  Let’s go!

More, more, hey!  More, more, hey!  More, more, hey!  [[Let’s pull!]]
More, more, hey!  More, more, hey!
Lift us up more higher!

Cute.
They are the rewards to ourselves!  Yes!
We turn into the buykings!  Because
they’re cute.
We need not regret!  No!
Our wish list explodes and blows us up.

Every night we work hard,
so, can we treat ourselves a bit today?
If someone objects to us,
down! Down! Down! Down! Down! Down!

On everything, we do our best.
Lovely maiden, thank you for hard work!
Then, shall we go showy?
Go! Go! Go! Go!  Let’s go!

More, more, hey!  More, more, hey!  More, more, hey!  [[Let’s pull!]]
More, more, hey!  More, more, hey!
Don’t lift us up.

More, more, hey!  More, more, hey!  More, more, hey!  [[Let’s pull!]]
More, more, hey!  More, more, hey!  More, more, hey!  [[Let’s pull!]]
More, more, hey!  More, more, hey!  More, more, hey!  [[Let’s pull!]]
More, more, hey!  More, more, hey!
Lift us up more higher!

They’re transcendently delicious!
They are the rewards to ourselves!  Yes!
Our happy time can’t be stopped.  Because
they’re delicious.
We need not get worried!  No!
Our hearts beat fast and blow us up.


  ROMAJI LYRIC AND NOTES ARE BELOW.

[i] About the Rap Parts of Regular ver.

The first rap part depicts the crowded commuter train & the crowded station during the rush hour in Tokyo, so the second part probably depicts the crowded shop during the bargain period/time in Japan. In the rap parts, there are several words that are usually used for the things found in BABYMETAL’s concerts. Probably they are used in order to compare those of the rush hour or the bargain shops to those of BABYMETAL’s concerts.

In some interview, Miss YUIMETAL said like she sings this song as a cheering song for fathers and mothers who go through/to such crowded places. The original lyric has only “uchira” (once) & “jibun” (twice), and other “we” & “us” are what I’ve inserted as supplements. Maybe she rarely goes to such crowded places and feels it’s hard for her to be there, so she feels respect for those who go there every day.

[ii] About the Reward Version

“ご褒美編” (gohôbi hen; the reward version) is included in the THE ONE members’ limited edition of “METAL RESISTANCE”. I happened to get the photo of the lyrics of this version and had a chance to listen to it.

For whom is the Reward version sung? “Jibun e no gohôbi” (= a reward to oneself; note #36) is often said by unmarried (lady) workers who can spend their money rather freely. Not a few Japanese seem to think a woman is “otome” (= maiden) as long as she has “otome-gokoro” (= maiden’s mind), but I think “kawaii otome” (= lovely maiden; my dear maiden; note #31) is not used for grown-up women. I think this song is for under-age girls who spend busy days & nights (note #40).

GJ! (Good Job!) –regular ver.-

Romaji Lyric English Translation Notes
 
  [Mi mi mi mi]
midori no densha no saakuru mosshu wa The circle mosh of the green commuter train 1,2
desubo no beru de WALL OF DEATH. turns into Wall of Death with the bell and the death growl. 3,4
Migi?  Hidari?  Mayoeru kohitsuji. To the right?  To the left?  We’re stray sheep. 5
DIE! DIE! DIE! DIE! DIE! DIE! Die! Die! Die! Die! Die! Die!
 
Uchira nya kitsui ze otona no kaidan. It’s hard for us to climb the stairway to adulthood. 6,7,8
ONESTEP!  TWOSTEP!  Rifuto appu! One-step!  Two-step!  Lift up! 9
Seken no aranami saafu de oyoide We swim across the stormy world by crowd surfing. 10,11
DIVE! DIVE! DIVE! DIVE!  LETS GO! Dive! Dive! Dive! Dive!  Let’s go!
 
Motto motto hora motto motto hora
    motto motto hora.  [[Ganbatte!]]
More, more, hey!  More, more, hey!
    More, more, hey!  [[Let’s try hard!]]
M,Y,
M,12
Motto motto hora motto motto hora More, more, hey!  More, more, hey! M,Y
mochiagete! Lift us up more higher!
 
Joodekî! Good job!
Iraira nante ira-nai desu!  DEATH! We need not get irritated!  No! 13
Kigaru ni TAKE IT EASY! Be light-hearted!  Take it easy!
Joodekî! Good job!
Moyamoya nante ii koto nai!  Nai! Hazy feeling brings us nothing good!  Nothing! 14
Nootenki na jibun ga nanbaa wan. We are the number one when being happy-go-lucky. 15,16
 
Kaiten mo soo soo ni mosshusshu pitto wa Soon after the shop opens, it’s like a mosh’sh pit 17,18
SO SO na hookoo de WALL OF DEATH. with so-so roaring and Wall of Death.
Oshiai!  Heshiai!  Oshikura-manju de Pushing!  Shoving!  It’s like a crowd pushing game. 19
BURN! BURN! BURN! BURN! BURN! BURN! Burn! Burn! Burn! Burn! Burn! Burn!
 
Bureiku daun wa haakoo mosshu de In the breakdown, we do the hardcore mosh. 20,21
foti paa! hangaku! puraisu daun! Forty percent, fifty percent, the prices are down! 22,23
Asshuku hagashi wa karei ni suruu de We elegantly escape from pressing down and pulling off. 24
GET! GET! GET! GET!  LETS GO! Get! Get! Get! Get!  Let’s go!
 
Motto motto hora motto motto hora
    motto motto hora.  [[Ganbatte!]]
More, more, hey!  More, more, hey!
    More, more, hey!  [[Let’s try hard!]]
M,Y,
M
Motto motto hora motto motto hora More, more, hey!  More, more, hey! M,Y
omake shite! Give us more extras! 25
 
Motto motto hora motto motto hora
    motto motto hora.  [[Ganbatte!]]
More, more, hey!  More, more, hey!
    More, more, hey!  [[Let’s try hard!]]
M,Y,
M
Motto motto hora motto motto hora
    motto motto hora.  [[Ganbatte!]]
More, more, hey!  More, more, hey!
    More, more, hey!  [[Let’s try hard!]]
M,Y,
M
Motto motto hora motto motto hora
    motto motto hora.  [[Ganbatte!]]
More, more, hey!  More, more, hey!
    More, more, hey!  [[Let’s try hard!]]
M,Y,
M
Motto motto hora motto motto hora More, more, hey!  More, more, hey! M,Y
mochiagete! Lift us up more higher!
 
Choozetsu!  Kanpekî! It’s transcendent!  Perfect! 26
Henachoko datte hyaku ten desu!! DEATH!! We give full marks even to weak-kneed persons!!  Yes!! 27,28
Asera-zu TAKE IT EASY! Don’t be hasty! Take it easy!
Kanpekî! It’s perfect!
Senobi shitatte ii koto nai!  Nai! Aiming too high brings us nothing good!  Nothing! 29
Nootenki na jibun ga nanbaa wan. We are the number one when being happy-go-lucky.
 

Notes

  1. In live performances, the lines marked with “M,Y,M” are sung by MOAMETAL (1st third), by YUIMETAL (2nd third), by MOAMETAL (3rd third) in turns. In the studio take, both seem to sing these phrases together. (Added on 2017 Mar. 31.)
  2. “Midori no densha” (= green train) probably refers to the commuter trains of the Yamanote line (35km loop line in central Tokyo).
  3. “Circle mosh(ing)” means the crowd of audience moving circularly in some concerts. The Yamanote trains are so crowded that such a movement is impossible, so “circle” may refer to the loop of the Yamanote line and “mosh(ing)” may refer to the over-crowded train. I’ve changed the translation from “in” to “of” on 2016 May 3rd.
  4. “Desubo” (= death growl) means the distorted voice of singers in some genres. Probably it refers to the announcement on the platform. The official lyric writes “合図” (= signal) and reads it as “ベル” (= bell). Probably it refers to some signal that tells the train is coming. I’ve changed the translation from “by” to “with” on 2016 May 3rd.
  5. “Wall of death” means the audience divided in two rushing each other in some concerts. Probably it refers to the crossing of the passengers getting off and the passengers getting on the train, but this crossing is rather orderly in Tokyo unless there are those who are not accustomed to it.
  6. “Stray sheep” is from the Christian Bible. Non Christian Japanese know it as “mayoeru kohitsuji” (= stray lamb).
  7. “Uchi” originally means “inside”. It also means “home” and sometimes “our” (school, company, etc). Girls & women in Kyoto/Osaka have been using “uchi” as a first personal pronoun, and now many girls nationwide also do this probably because it sounds cute. “ra” is the particle of plurality.
  8. “Kitsui” originally means “intense” (of stimulus, etc). In this line, it emphasizes mental pain rather than physical difficulty.
  9. “Otona no kaidan” (= stairway to adulthood) means the life events in adolescence through which one grows up. Probably it refers to the over-crowded stairway to the platform during the rush hour.
  10. “One-step” & “two-step” seem to mean some kinds of dance steps. They may refer to running up the stairway by taking every step (= one-step) or skipping every other step (= two-step).
  11. “Seken no aranami” is literally “the raging waves of the society”. It means the harshness of the world. It may refer to the passengers going down filling the full width of the stairway. A student of a suburban highschool has to make her way against such a crowd because few passengers go to the same direction as her.
  12. “Saafu” is probably “crowd surfing” which means a person moving over the audience in some concerts (it is dangerous and prohibited in many concerts). Though the original lyric uses the word “oyoide” (= swim), actually the audience (kindly) pass a crowd surfer over their heads to one after another. It may suggest using other people for one’s own ends, but there is no such an easy way during the rush hour in Tokyo. I’ve changed the translation from “ride across” to “swim across” on 2016 May 3rd.
  13. The growl “ganbatte” is the conjunctive form (連用形; ren’yôkei) of “ganbaru” (= try hard). If the sentence ends with this form, usually “kudasai” is thought to be omitted and it is regarded as a kind of requesting form. In BABYMETAL’s concerts, the audience are asked to call this word. I’m not sure whether it simply means they ask the girls to try hard or some other word is omitted and it means the audience will try hard on something (e.g. lifting up the girls).
  14. This “DEATH” is a repetition of the preceding “desu” in a playful notation, and that “desu” emphasizes the preceding “ira-nai” (= don’t need), so I translate “DEATH!” to “no!”.
  15. “Moya” means mist or haze. “Moyamoya” means an unclear sight or an uncomfortable mental state that one can’t explain well by oneself.
  16. “Nootenki” means “thoughtless & optimistic”, “carefree”, or something.
  17. “Nootenki na” modifies “jibun” (= I/we). Two interpretations are possible for this: “because” or “when” “I/we am/are thoughtless & optimistic”. And two interpretations are also possible for “the number one”: among the people or among my/our several mental states.
  18. “Kaiten” (= shop opening) can be interpreted two ways: the beginning of a new shop or the beginning of every day’s business. I think “soo soo” (= soon after) is fitter to the latter than the former.
  19. “Mosh’sh” (= mosshusshu) is pushing each other safely, enjoyably & friendly (BABYMETAL explained so before). Probably “mosh’sh pit” refers to the crowded shop. I’m not sure of the grammatical structure of these two lines. It may be “Soon after the shop opens, so-so roaring and wall of death happen in the mosh’sh pit”.
  20. “Oshikura-manjû” is Japanese children’s game. Basically the players just push each other. Usually it is played in winter to get warm. In this line, probably the word refers to the shoppers crowding around the bargain counters.
  21. This “breakdown” is probably a musical term that means the part of a tune at which all players (except few) stop playing to bring some freshness. I don’t know whether bargain shops have something like this or not, except that many shops start to discount perishable foods near the closing time every day.
  22. “Haakoo mosshu” (= hardcore moshing) occurs in hardcore punk concerts, etc. It seems to be some (rather violent) type of moshing. Probably it refers to the shoppers crowding harder at a time-limited sale.
  23. Though these are written as “40%50%” in the official lyric, I thought heard “goju paa hangaku” (= fifty percent, half the price) in the studio take. But as Anonymous san pointed out, they probably sing “foti paa” (= forty percent). I revised the romaji lyric on 2017 Mar. 27 (thanks to Anonymous san on 2017 Jan. 2. & DODA san on 2017 Mar. 27). Sorry for late update.
  24. “Haakoo mosshu de … puraisu daun” can be interpreted two ways: the shoppers rush the shop clerks and force them to reduce the prices, or the shoppers rush the bargain counters because the prices are reduced. Probably the latter is better. I’ve changed the translation on 2016 May 3rd.
  25. This “asshuku” means pressing from behind near the front row of the audience in concerts. This “hagashi” means wedging in such a crowd (“hagasu” = to peel off). Probably they refer to those at bargain counters.
  26. “Omake” comes from “makeru”. “Makeru” originally means to be defeated and also means to discount. The noun “omake”, however, mainly means a free extra, and the verb form “omake suru/shite” means both to add an free extra and to discount. The former is better for the economy than the latter.
  27. “超絶” (chôzetsu) means being beyond the normal limits. In this line, probably it means being extraordinarily excellent or something. “Chôzetsu” may modify “kanpeki” (= extraordinarily perfect). Young Japanese who very often use “chôzetsu” sometimes say such a phrase.
  28. “Henachoko” means a weak/petty person. It is mainly used for guys. “Henahena” means to be bent easily. I’ve changed the translation on 2016 May 3rd.
  29. This “DEATH” is a repetition of the preceding “desu” in a playful notation, so I translate it to “Yes”. Since “desu” is the copula, it may be better to translate this line to “Even weak-kneed persons are (worth) full marks”.
  30. “Senobi” originally means stretching one’s back. It figuratively means “aiming too high” or “acting more adult-like” (for young people).

GJ! –Gohôbi hen– ( Good Job! –Reward ver.- )

Romaji Lyric English Translation Notes
 
Eburi dei ganbatteru kara Every day we work hard,
kyoo wa chotto wagamama shite ii? so, can we have a bit of our own way today?
Nanka monku itte kuru hito wa If someone objects to us, 30
BANG! BANG! BANG! BANG! BANG! BANG! bang! Bang! Bang! Bang! Bang! Bang!
 
Eburi taimu isshin dootai. Every time we are in one body. 31
Kawaii jibun otsukare-sama DEATH! My lovely self, thank you for hard work! 31
Sore ja doonto itchai masu ka! Then, shall we go vigorously? 32,33
BUY! BUY! BUY! BUY!  LETS GO! Buy! Buy! Buy! Buy!  Let’s go!
 
Motto motto hora motto motto hora
    motto motto hora.  [[Hippatte!]]
More, more, hey!  More, more, hey!
    More, more, hey!  [[Let’s pull!]]
34
Motto motto hora motto motto hora More, more, hey!  More, more, hey!td>
mochiagete! Lift us up more higher! 35
 
Kawaii. Cute.
Jibun-tachi e no gohoobi desu!  DEATH! They are the rewards to ourselves!  Yes! 36,37
BUYKING ni henshin!  Datte We turn into the buykings!  Because 38
kawaii. they’re cute.
Kookai nante hitsuyoo nai!  Nai! We need not regret!  No!
Hoshii mono risuto ga dai-bakuhatsu. Our wish list explodes and blows us up. 39
 
Eburi naito ganbatteru kara Every night we work hard, 40
kyoo wa chotto zeitaku shite ii? so, can we treat ourselves a bit today?
Nanka monku itte kuru hito wa If someone objects to us, 30
DOWN! DOWN! DOWN! DOWN! DOWN! DOWN! down! Down! Down! Down! Down! Down!
 
Eburishingu isshookenmei. On everything, we do our best.
Kawaii otome otsukare-sama DEATH! Lovely maiden, thank you for hard work! 31
Sore ja paatto itchai masu ka! Then, shall we go showy? 32, 41
GO! GO! GO! GO!  LETS GO! Go! Go! Go! Go!  Let’s go!
 
Motto motto hora motto motto hora
    motto motto hora.  [[Hippatte!]]
More, more, hey!  More, more, hey!
    More, more, hey!  [[Let’s pull!]]
Motto motto hora motto motto hora More, more, hey!  More, more, hey!
mochiage-nai. Don’t lift us up. 35,42
 
Motto motto hora motto motto hora
    motto motto hora.  [[Hippatte!]]
More, more, hey!  More, more, hey!
    More, more, hey!  [[Let’s pull!]]
Motto motto hora motto motto hora
    motto motto hora.  [[Hippatte!]]
More, more, hey!  More, more, hey!
    More, more, hey!  [[Let’s pull!]]
Motto motto hora motto motto hora
    motto motto hora.  [[Hippatte!]]
More, more, hey!  More, more, hey!
    More, more, hey!  [[Let’s pull!]]
Motto motto hora motto motto hora More, more, hey!  More, more, hey!
mochiagete! Lift us up more higher!
 
Choozetsu! ôishii. They’re transcendently delicious! 43
Jibun-tachi e no gohoobi desu!  DEATH! They are the rewards to ourselves!  Yes!
HAPPY taimu tomaran.  Datte Our happy time can’t be stopped.  Because
ôishii. they’re delicious.
Shinpai nante hitsuyoo nai!  Nai! We need not get worried!  No!
Kokoro ga tokimeite dai-bakuhatsu. Our hearts beat fast and blow us up. 39
 

Notes

  1. Grammatically it is a noun clause: (we will bang/down) “those who voice some objections to us”.
  2. “Kawaii jibun” means “one’s lovely self” or “one’s dear self”. “Otome” (= maiden) too refers to such oneself. It is certain here she views her everyday self from third person’s viewpoint, but I’m not sure whether this phrase implies she thinks herself acting a cute girl or shows she holds herself dear or both.
  3. The form “- masu ka?” shows it is a polite interrogative, so there should be at least two persons. I’m not sure whether here are she & her friend or only both sides of her, but it seems better to regard “Jibun-tachi” as referring to her & her friend, so I think her friend also appears in this song.
  4. “Doon” (don) is an onomatopoeia used for the sound of cannon fire, a strong or heavy strike, etc. In the form of “doon to” (don to), it also represents the state of being large amount (e.g. a building being big, a person acting vigorously or big-heartedly).
  5. The growl “hippatte” (hipparu) means to pull, to stretch, etc. This is the conjunctive form (see note #12 above). In order to lift up the girls by pulling, the guys must stand at a higher place than them, but it seems strange to me. “Hipparu” also means to lead someone as a leader or to prolong/postpone some event. I’m not sure what it means at all.
  6. “Mochiagete” (= mochiageru) is literally “to lift (something) up”. It sometimes means to praise/flatter someone. I think she probably asks someone (or herself) ‘to liven her up’ (= “moriageru”), but I’m not sure what specific action is referred to. I feel it a bit strange here to ask someone to praise herself.
  7. “Jibun(tachi) e no gohôbi” (= the rewards to oneself/oneselves) has been used for over a decade. It seems to be an advertising slogan being a nice excuse to buy unnecessary or expensive things because rewarding is absolutely right. See also note [ii] above.
  8. This “DEATH” is a repetition of the preceding “desu” (= to be) in a playful notation, so I translate it to “yes”.
  9. “Buyking” probably means the king of shoppers or the no.1 shopper, and it is a pun with Vikings. It may suggest they buy everything they want like Vikings snatched everything they wanted (this view seems to be historically wrong, though).
  10. “Dai-bakuhatsu” is literally “big explosion”. About a person, it is usually used for anger, joy, etc. and it implies such emotion makes him/her lose control of oneself. I don’t think a wish list or hearts physically explode.
  11. I think “every night” suggests she is a student. Every day she goes to school, and every night she does her homework or works part-time in a hamburger shop, in a Metal band, etc. She is too young to do housework as a wife or a mother at night.
  12. “Paatto” (patto) is an onomatopoeia which represents the state of scattering quickly, changes happening widely & simultaneously, being showy, etc. It suggests the way of spending money as if scattering banknotes.
  13. “Mochiage-nai” is grammatically a negative indicative form, but sometimes an indicative form is used as an imperative sentence. I’m not sure whether it is indicative or imperative.
  14. “超絶” (chôzetsu) means being beyond the normal limits. If it modifies an adjective, it means like “it is so [delicious] that I can’t believe it exists in this world” or in short “extraordinarily [delicious]”.
        I changed the translation from “transcendentally delicious” to “transcendently delicious” on 2016 Jun. 18th.

Continue readingGJ!

Tales of The Destinies

Released on 2016 Apr. 1st, included in “METAL RESISTANCE”Lyric: KITUSNE of METAL GOD, KxBxMETAL / Music: Mish-Mosh / Arr.: tatsuo, Mish-Mosh Tales of The Destinies We have no luck!  We are unlucky!Our answer is always…We can’t help it!  It … … Continue readingTales of The Destinies

Sis. Anger

Released on 2016 Apr. 1st, included in “METAL RESISTANCE”
Lyric: TSUBOMETAL, TMETAL / Music: TSUBOMETAL / Arr.: YUPPEMETAL

This song is sung by BLACK BABYMETAL (MOAMETAL & YUIMETAL).

Sis. Anger

I dislike
guys who think only about themselves.
You’re uncool, super uncool.
Don’t approach me!

I dislike
“impossible”, “useless”, “it’s reached the limit”.
They’re uncool, super uncool.
I don’t wanna hear them.

I will knock your ill-nature into shape.
Burn! Burn your anger hidden inside!

“Stop kidding! Hey, you!”
It doesn’t matter to win or lose.
“Stop kidding! Hey, you!”
It is only to be serious or not that matters.

I dislike! dislike! dislike! dislike!
Fighting spirit! spirit! spirit! spirit!
You, stupid guy!

I dislike
guys who are not serious but only make excuses.
Stop kidding! I got super irritated.
Don’t turn your dirty face to me!

I dislike
guys who can’t do it but pretend to be tough.
Stop kidding! I got really irritated.
Get out of my sight!

I will knock your ill-nature into shape.
I will burn up everything with flare of anger.

“Stop kidding! Hey, you!”
It doesn’t matter to be skillful or awkward.
“Stop kidding! Hey, you!”
You may think back but may not regret.

Fight! Fight against sneaking temptation!
Fight! Fight! Shout out your anger!

“Stop kidding! Hey, you!”
You say “sorry”? You say “forgive me”? What do I do with you?
“Stop kidding! Hey, you!”
It’s a lie? Flattery? Ready for anything! Bring it on!


  ROMAJI LYRIC AND NOTES ARE BELOW.

[i] About Japanese Abusive Words

As noted below, the original lyric contains many vulgar words, but most of them are lazy or rough pronunciations which are usually regarded as rude (note #4, #6, #9; revised on 2016 May 9, thanks to Anonymous sans on 2016 May 1&7) or somewhat rude synonyms (like “guy”? note #3, #10, #11, #18) or purely provoking words without dirty nuances (note #13, #23, #24). Only “baka yarô” (note #15, #16) are special words to insult someone.

There are dirty Japanese words to insult someone such as “k_s_” which corresponds to “sh_t” and an Osaka dialect “itemau” which corresponds to “f__k (you)”, but such Japanese words are not used in this song, so I don’t use such English words. I think dirty words should be reserved for dirty words.

“Zakkenja nê” is a strong expression, but it is just a variant pronunciation of “fuzakeru no de wa nai” (= fuzakeru na) which has no dirty nuance, so I have no idea but translating it to “stop kidding”. I’m sorry for not knowing English well. This word sounds not so strong to people who know the Japanese dialects which have special abusive words, but I don’t know whether Tokyô people use this word because they are less offensive than people in those regions or because their abusive vocabulary is poor while they are as offensive as those people.

Some fans wonder why (Amuse let) BLACK BABYMETAL sing these somewhat offensive lyrics, and some fans seem to dislike such lyrics. But this song is fictional. The lyrics are not what they really want to say. And I think the words are somewhat deliberately selected just like a criminal heroine in a Japanese movie is usually depicted so as not to lose our sympathy.

[ii] Does she want to refuse or improve these guys?

This song has some lines that say as if she refuses these guys, which I mark with (ii) below. Some other lines say as if she wants to improve these guys, which I mark with [ii], and some lines sound like the words of rock & roll preachers or something, which I mark with {ii}.

If one tries to improve those whom one dislikes, there should be some reason why one doesn’t simply try to drive them away. Of course, one doesn’t necessarily have goodwill towards them though improving them. A wise dictator knows brainwashing is more profitable to him than bloody purge. If “Sis.” (= sister) of the title means that a girl dislikes her brother(s), she can’t easily desert him/them even though she dislike him/them very much.

I pay attention to the line “I will beat your ill-nature into shape”. Some teachers or something do this mainly for their self-realization (i.e. the guys are mere materials for their work), but I don’t think this song is sung by such a kind of person, so I incline to think she wants to rescue the guys from such a state of being ill-nature because she has some goodwill towards them though she uses harsh words. (Unnecessary addition: I want to call this ‘goodwill with harsh words’ “ツンデレ” (tsundere), but it seems to be confusing because the word originally refers to a girl who is usually unfriendly (= tsun) but gets over-friendly (= dere) to her lover once she’s fallen in love.)

In some interviews, Miss Moa said like “I hope ‘Sis. Anger’ would encourage many people.” and Miss Yui said like “This song made me stand up straight when I sang it, so I hope it can motivate the listeners even a little”.

Sis. Anger

 

Romaji Lyric English Translation Notes
  1
Kirai daa, I dislike 2
jibun no koto shika kangae-nai yatsu. guys who think only about themselves. 3
Kakko warii choo kakko warii kara You’re uncool, super uncool. 4,5
chikazuite kunna! Don’t approach me! 6,(ii)
 
Kirai daa, I dislike
muri toka muda toka genkai desu toka. “impossible”, “useless”, “it’s reached the limit”. 7,8
Kakko warii choo kakko warii kara They’re uncool, super uncool.
kiki-taku nee. I don’t wanna hear them. 9
 
Omae no sono konjoo tataki-naosu zo. I will beat your ill-nature into shape. 10,11,[ii]
Moyase yo, moyase yo,
    mune no naka ni himeta ikari o!
Burn! Burn your anger hidden inside! [ii]
 
“Zakkenja nee zoo, oi! ora!” “Stop kidding! Hey, you!” 12,13
Katta ka maketa ka kankee nee. It doesn’t matter to win or lose. {ii}
“Zakkenja nee zoo, oi! ora!” “Stop kidding! Hey, you!”
Daiji na koto wa honki ka doo ka dakee. It is only to be serious or not that matters. {ii}
 
Kirai da! Kirai da! Kirai da! Kirai da! I dislike! dislike! dislike! dislike! 2
Kiai da! Kiai da! Kiai da! Kiai da! Fighting spirit! spirit! spirit! spirit! 14
Baka yaroo! You, stupid guy! 15,16
 
Kirai daa, I dislike
honki ja nee noni iiwake bakkari. guys who are not serious but only make excuses. 17
Fuzakenna! Choo iraira suru kara Stop kidding! I got super irritated. 6
sono tsura mukenna! Don’t turn your dirty face to me! 6,18,(ii)
 
Kirai daa, I dislike
deki mo shi-nee noni tsuyogatteru yatsu. guys who can’t do it but pretend to be tough.
Fuzakenna! Maji iraira suru kara Stop kidding! I got really irritated.
kiete kuree! Get out of my sight! 19,(ii)
 
Omae no sono konjoo tataki-naosu zo. I will beat your ill-nature into shape.
Ikari no honoo de
    subete yaki-tsukushite yaru kara.
I will burn up everything with flare of anger.
 
“Zakkenja nee zoo, oi! ora!” “Stop kidding! Hey, you!”
Umai ka heta ka wa kankee nee. It doesn’t matter to be skillful or awkward. {ii}
“Zakkenja nee zoo, oi! ora!” “Stop kidding! Hey, you!”
Hansei shite mo ii kookai shite wa damee. You may think back but may not regret. {ii}
 
Tatakae! Tatakae! Shinobi-yoru yuuwaku to! Fight! Fight against sneaking temptation! 20,[ii]
Tatakae! Tatakae!
    Omaera no ikari o sakebe yo!
Fight! Fight! Shout out your anger! 10,[ii]
 
“Zakkenja nee zoo, oi! ora!” “Stop kidding! Hey, you!”
Gomen ne?  Yurushite?
    Doo shiyoo ka naa?
You say “sorry”?  You say “forgive me”?
    What do I do with you?
21
“Zakkenja nee zoo, oi! ora!” “Stop kidding! Hey, you!”
Uso desu?  Gomasuri?
    Jootoo daa!  Kakatte koi yaa!
It’s a lie?  Flattery?
    Ready for anything!  Bring it on!
21,22,
23,24
 

Notes

  1. There are some words spoken in male voice at the beginning. Some reddit users have found they are from Christians’ “Book of Revelation” (= “Apocalypse”), chapt. 6.: “I watched as the Lamb opened the first of the seven seals. Then I heard one of the four living creatures say in a voice like thunder, ‘Come!'”. I don’t know what these words mean to this song.
  2. “Kirai” (= dislike) is neutral as to hatred. It is never used for those who killed one’s family, etc. In such cases, “nikumu” (verb) or “nikui” (adj.) is used.
  3. “Yatsu” (= manservant?) is a rude word used for a man. It is also used for a thing (e.g. “Akai yatsu o kure!” = Pass me red one!) and sometimes used to express intimacy (e.g. “Ii yatsu da.” = You’re/he’s a good guy). “Gaki” (= starving ogre (Buddhism term) ) is used to abuse a kid, and “ama” (= nun (of Buddhism) ) for a woman, but “ama” isn’t so popular because many people use “yatsu” also for a woman.
  4. “Kakko warî” is literally “the form/appearance is bad”. The antonym is “kakko ii”. “Warî” (warii) is a rude pronunciation of “warui” (= bad).
  5. “Chô” (choo) originally means “super” of “super-sonic”, etc. but young Japanese use it also as “very”.
  6. “Kunna”, “fuzakenna”, “mukenna” are rude contractions of “kuru na”, “fuzakeru na”, “mukeru na”. They are the negative imperative forms (= Don’t —).
  7. “Muri” means “unreasonable” (originally) or “difficult/impossible”. When “muri” is used as refusal, I’m not sure of the proportion of unwillingness and objective/subjective difficulty in the reason.
  8. “Genkai desu.” is literally “It is the limit.”, and in this context, it means “I can’t do anymore”.
  9. “Nê” (nee) is a rude pronunciation of “nai”. It means “not” and is analyzed as an adjective or an auxiliary verb.
  10. “Omae” is a rude word for “you”, but it was originally an honorific word and is still sometimes used to express intimacy.
        Both singular “omae” & plural “omaera” are used, but I’m not so sure whether it is for distinguishing the plurality of “you” or just for matching the number of syllables to the rhythm.
  11. “Konjô” means nature or disposition of a person. It is mainly used for bad one but sometimes used for good one (e.g. “konjô ga aru” = having guts or being patient).
  12. “Zakkenja nê zo!” (= Stop kidding!) is a rude contraction of “fuzakeru no de wa nai zo” (“ja” = “de wa”). Japanese accent is pitch accent, and “fuzakeru” is pronounced “fu_za-ke-ru_” (-:hi, _:low) in Tokyo accent. The initial low syllable is sometimes dropped and the word becomes “zakeru”, then the accent is changed to “za_ke-ru_” according to the general rule of Tokyo accent. “Zakkeru” has a short silence before “k” (called “sokuon”). I guess it is inserted to stress the initial low syllable.
        Only this line (appearing four times) is enclosed in quotation marks, but I don’t know why.
  13. “Oi” is a rude interjection to draw attention. “Ora” is a rude interjection to provoke or agitate someone.
  14. “Kiai” means (fighting) spirit or something. There is a retired pro wrestler, Animal HAMAGUCHI, who shouted “Kiai da!” to charge himself with fighting spirit. I’m not sure whether she charges the guys with it or she means it is a matter of fighting spirit whether things are impossible or not.
  15. “Baka” means a fool but is also used non-abusively. For example, finding a friend’s bad choice, some Japanese say “Baka da na. — sureba yokatta noni.” (= You’re foolish. You should have done —). In many cases, however, they’re not looking down on their friend but just frankly expressing their surprise like “wow” (some people don’t like this saying, though). And when a girl says “Baka, baka, baka!” to her (expected) boyfriend, it sometimes means “Why can’t you understand how much I like/love you?”
  16. “Yarô” originally means a young man. Now it is mainly used to abuse a man, but there is also non-abusive use such as “Torakku Yarô” (movie title) which refers to independent truck drivers.
  17. “Bakkari” (= only) is an emphasizing pronunciation of “bakari”.
  18. “Tsura” means a face. Now it sounds rude (except used in some compound words) but has no nuance of “dirty”.
  19. “Kiete kure!” (= Disappear!) is rude but a request because “kure” is the non-polite form of “kudasai” and means “give me/us”. The simple imperative is “Kiero!” and there is the emphasized phrase “Kie usero!” (“usero” too means “disappear”) which too has 5 morae and is replaceable here.
  20. At first, I thought “shinobi-yoru yuuwaku” (= sneaking temptation) probably means that there are both some (other) undesirable state (which is not yet realized) and some tendency towards it and they are difficult to notice, but that undesirable state may simply be that the guys would no longer feel anger.
  21. “Gomen ne?”, “Yurushite?”, “Uso desu?” & “Gomasuri?” are guys’ apologies, etc. with question marks. They mean “You say [ — ] ?”.
  22. At first, I thought “uso desu” (= it’s a lie) is an excuse negating guys’ words that offended her, but it seems to negate preceding “sorry” & “forgive me”, so she gets angry again and shouts “Bring it on!”.
        (Unnecessary addition:) It sounds, however, unnatural to me because, if one negates one’s apology voluntarily & immediately, it is likely that one had some bad intent and say more maliciously like “うっそだよーん” (usso da yôn) than “uso desu”. However, afterwards when one is asked “Why did you say so then?”, one may answer honestly “It was a lie, just flattery.”
  23. “Jôtô” means a high class/quality. It sometimes means satisfaction or welcome, and sometimes ironically (e.g. “0 ten? Jôtô da!” = Rated 0/10? It’s welcome!). Here, however, I don’t translate it to “welcome” because it is hardly ironic to welcome flattery.
  24. “Kakatte koi ya” is the imperative “come to attack me”. “Ya” is an emphasizing particle used in Osaka, etc. (“yo” in Tokyo, etc). Probably the lyric writers chose “ya(a)” because Osaka dialect sounds strong.
        (Unnecessary addition:) However, what makes it sounds strong is its accent (ka-kat-te-ko-i_ya_; -:high, _:low), but actually they shout it in Tokyo accent (ka_kat-te_ko-i_ya_) and it is difficult to stress the initial low syllable, so it doesn’t sound so strong as a native Osaka shouts.

Continue readingSis. Anger

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