Video: Polysics Live at Rock in Japan 2010

Polysics is back!

This performance from Rock in Japan in early August 2010 is the first time new-wave spazz band Polysics has performed live since keyboard player and founding member Kayo left. Since they've been together for around 12 years, this was a pretty big deal. Fans were not only sad to see her leave, but worried about what it might mean for the future of the band. Luckily for us they decided to stick together and soldier on as a three piece.

While the band did play a full set, including three or four brand new songs, those of us not in attendance have only been privy to three songs that have made it onto the web. The video up above is their new opener "Heavy Polysick," which leads into one of the band's very first songs "Buggie Techinica." After the jump is the more modern "Tei Tei Tei."

To be honest, none of these tracks really lets us in on what kind of new sound and energy Polysics might have as a trio. But maybe that means that the new Polysics might not be different at all without a dedicated keyboard player. The band is already recording new material, so it shouldn't be too long before we get to hear for ourselves.

In the meantime, if anyone knows were a video of the full Polysics set from Rock in Japan 2010 might be, I know some people who might be interested...

2010 Calendar - Polysics - US Tour

January 28-Feb 16
Polysics
US Tour

Jan-28-10　Bottom of the Hill - San Francisco, CA
Jan-29-10　The Roxy Theatre - Los Angeles, CA
Jan-30-10　Casbah - San Diego, CA
Feb-02-10　Plush - Tucson, AZ
Feb-03-10 The Rhythm Room - Phoenix, AZ
Feb-05-10 The White Rabbit - San Antonio, TX
Feb-06-10 The Independent - Austin, TX
Feb-07-10 The Loft - Dallas, TX
Feb-10-10 Double Door - Chicago, IL
Feb-11-10 Magic Stick - Detroit, MI
Feb-12-10 Musica - Akron, OH
Feb-13-10 The Gramercy Theatre - New York, NY
Feb-14-10 Middle East - Cambridge, MA
Feb-16-10 The Rock and Roll Hotel - Washington, DC

Source: MySpace

Videos of the Week 10/12/09

Polysics - Rock in Japan Fest 2009 Live (1/3)


This week's videos all have something in common, Rock in Japan Fest 2009! In particular, the full set from Polysics, which you'll find in the first three clips, as well as a general overview of the entire festival in the three clips that follow. Make sure to check out the awesome costumes that Polysics put together. I think it's their best theme yet, although the boy-scout uniforms for a few years back were also rather incredible...

What more can I say? Sit back and enjoy the mayhem!


Polysics - Rock in Japan Fest 2009 Live (2/3)


Polysics - Rock in Japan Fest 2009 Live (3/3)


Rock in Japan Fest 2009 Digest (1/3)


Rock in Japan Fest 2009 Digest (2/3)


Rock in Japan Fest 2009 Digest (3/3)

Review: Polysics - Absolute Polysics

It's another year and time for another album from Polysics, a band that's been releasing a new album every year since their first release in 1999 (not to mention a constant stream of singles, EPs, compilations and DVDs along the way). Their profile has been constantly on the rise, hitting its peak in 2006 with the release of the "I My Me Mine" video featuring the robotic dancing of Strong Machine 2. (Oddly enough, aside from the Now is the Time! album, the song was only released as a 7" vinyl single in the UK.) They went on to sign with MySpace Records and go on progressively growing tours overseas.

For the uninitiated, Polysics is a highly energetic surf-rock guitar driven, new-wave band. They augment their four member line-up with with plenty of digital playback, lead vocals from three of its members as well as plenty of robotic, vocoded lines, making their digital material something of a fifth (or even sixth) member of the band. While the songs are pure pop at their core, the outer shell is abrasive, jagged, sweaty and very very loud. This is no gang of posing '80s fashion throwbacks playing pillowy soft-core synth pop or ecstasy-fueled chiptune children's music. This is a hard rockin' punk/synth monster. It's essential to experience Polysics in a live setting as their performances are non-stop mayhem. Front-man Hiro is usually drenched in sweat by the end of their opening song. Their visual look is equally unique, with all four members wearing matching neon-colored jumpsuits and sunglasses that are little more than a large black bar across their faces, a direct and very intentional nod to the band's biggest influence, Devo.

Ever since National P in 2003, arguably the band's strangest and most adventurous album, they have been dialing back the craziness. From Now is the Time! to Karate House and then on to We Ate the Machine, each album has become progressively less noisy and insane in favor of cleaner production and less jagged song structures. (For, again arguably, their best production, one must got back even further to 2002's For Young Electric Pop.) Even their reliance on Kayo's synths and other digital tracks has gone down. On Absolute Polysics she has a much more traditional role, playing less grating sounds and more straight up harmony to Hiro's guitar. She only has one song in which she has a lead vocal part, the album closer "Wasabi," but she is, for all intents and purposes, silent on the other 13 tracks.

By contrast, Fumi has been taking an increasingly dominant role on the band. While Hiro still takes on the lion's share of the song and lyric writing, Fumi has been getting more of a chance to take up this role, almost seeming to become a second band leader at times. This is a role that, in the past, Kayo seemed to fill. Fumi has been writing both lyrics and music more often and has been filling more of the alternate singing roles as well. This isn't exactly new, and probably isn't a major factor in the band's slow sound shift, but it's also worth taking note of.



Absolute Polysics starts off very strong with “P!,” the usual brief, instrumental introduction full of enegertic synths and even a marching band whistle counting off the measures. This is followed up with the album's two singles, "Shout Aloud" and "Young OH! OH!," both of which are among the album's strongest songs. The former is certainly the most intense track on Absolute and contains all of Polysics' signature moves. It has a practically non-stop metal-industrial beat, complete with blinding fills from Yano on the drums, frantic guitar arpeggios and ascending scales all over the place. There are three vocal treatments as well. Hiro's usual, chirpy delivery, a bridge from keyboardist Kayo, a vocoded chorus and even a massive crowd chant mid-way though. "Young OH! OH!" pulls the tempo down just a bit, but it's just as energetic and infectious. The silly, whispered "young oh oh!" breaks and straight-ahead beat make it impossible to not both smile along with and bob along to.

"Hypnotized GO" keeps the fast beats going, but this time in a much more electro/industrial vein. It's actually a bit of a departure for the band, being dark like a late P-Model track than their usual new-wave rock. The songs doesn't really do much more than pound along like a robot hammering out miles of sheet metal.

This is followed by the short instrumental "Time Out." An obvious homage to Devo's "Timing X," it severs as an early break in the album's frantic pace.



"Bero Bero" is the first strange track on the album, which is what most long-time Polysics fans will be expecting. It has all the de-tuned and jagged synths that are missing from the first part of the album. It also has some pretty bizarre vocals from Hiro who, for what seems to be the chorus, simply goes something like "blublublublubulbulbulbulbulbuuyeah!" That's followed by “Cleaning,” the most straightforward and radio friendly track, written entirely by Fumi. It's much like "You You You" and the Polysics of Die reworking of "Black Out Fall Out." It's a simple, poppy rock song devoid of anything too harsh or wacky. In a way, it's one of the standout track just because it's so “normal.”.

"E.L.T.C.C.T." is another example of what Polysics does best. Sung by Fumi, it has an odd time signature, stuttering syncopation and lots of chaotic noise in the background. Then all of that is cast aside as the shining, sing-along chorus breaks though, bringing back the pure pop-bliss, before then dropping back into the oddly timed "Every girl knows, Every boy knows this, Every thing can cause trouble" chant (again, with a possible nod to the beat in Devo's version of "Satisfaction.")

"First Aid" and "Fire Bison" are again something of a 1-2 punch. They fill in the requisite amount of raw, distorted rock, similar to "Hard Rock Thunder" and "We Ate the Machine" from previous albums. The band simply turn up the amps and fill the air with noise. "Fire Bison" mixes it up a bit, using a more electronic base. Both Fumi and Yano chugging along though most of the song and there's even a heavily effect violin, played by Yuji Katsui (of Bondage Fruit) at the end. Yet both of these songs are a little unremarkable due to their being pretty basic and surrounded by so many other memorable and quirky songs.



In a sort of mirror to the beginning of the album, "Eye Contact" is something of a break from all the rocking. It's totally electronic, featuring a very basic electro beat and bass line. Hiro's vocals sound a bit like the rhythm from Devo's "Redeye Express" and the synths seem to be taken straight from Kayo's version of "Saraba Siberia Tetsudou" from her solo album, neither of which is a bad thing. Overall, it's a nice break in tone, but it's another example of a song that seems to be either half finished or just stuck on the album for filler.

"Beat Flash" is a return to the same clean and fast sound on "Shout Aloud," which isn't a surprise since it was the b-side to that single.

"Speed Up" is the one real clunker on the album. It's almost as if it missed getting mastered, sounding totally flat, muddy and quieter than the rest of the album. It does have a nice, catchy chorus, again like "You You You," but the rest of the sing just seems dull and phoned in. Again, this could simply be a result of the piss-poor production. Any of the other b-side releases from the singles would have been a better fit.

The final track "Wasabi," is the real hidden gem. It's the most unique song on the album, featuring Kayo singing in a high voice that has a feel of the Buggles' "Video Killer the Radio Star." The song itself feels a bit like "Miss Donuts" off of the Kaja Kaja Goo EP. It's very poppy, with twinkling xylophone sounds and a nicely dissonant bridge thrown in. Plus, it's the only song to really feature Kayo, something that is sorely missing from the rest of the album. The very end of the song, and the album, features some backwards screaming and other chaos that quickly fades out, providing a very unceremonious and abrupt end.



The overall lack of variance to the album's production, the sameness to the feel of every track, makes Absolute Polysics a bit of a disappointment in the “wow” department. There are a some great songs and interesting ideas, but they seem to be spread very thin. "Shout Aloud" and "E.L.T.C.C.T." are packed with exactly the right amount of catchy song writing versus zany structuring. "Bero Bero" and "Wasabi" provide the strangeness and playfulness that really defines the band. Everything else? Certainly not bad, but also not so great. The lack of Kayo's lead vocals and the way in which her usually squelchy and abrasive synths are pushed far into the background in favor of the cleaner production also leaves the songs sounding a little too even. On the other hand, it's much easier to make out what everyone is playing, something that was lost on the band's earlier, and more noisy, releases.

Maybe that is what's missing. That sense of the band playing live in a big room. The feeling that everything is on the verge of falling apart and exploding. That dirty new-wave punk sound. Now they are clean and precise. Once again there is the feeling that this album has been churned out at break-neck speed, written more to meet a contractual deadline than for the fun of playing loud and fast. It's still a work of occasional genius, packing more material into most songs than other bands use on an entire album. Absolute Polysics is an album that only becomes more awe-inspiring on repeat listens. Yet it's tough to not see how the band is evolving (or, of course, DEVOlving) toward an almost clinical, assembly-line method of song writing.

As an added bonus for fans, there is also a special edition version of the releases that includes a DVD. In that disc are the videos for “Shout Aloud” and “Young OH! OH!.” But the real attraction is the six, yes six hour documentary of the band recording in the studio. In this film, we get to see the band recording a new, and very short, song from beginning to end. Hiro brings the song in as an all electro demo, playing it off of a computer a few times for the band to hear and take notes. They then gather together and play the song through a few times, working out exactly what to play. It's all pretty self explanatory, really. The band play the song though together, then they individually go back and re-records their parts until the song is done. The entire session is shot without a break, give it a sort of impossible-to-look-away feel since there are never any obvious gaps. Oh, and as a gimmick, when a band member walks off-camera to go into another room, they almost always return wearing a different t-shirt. It's a surprisingly effective way to keep people watching, since the actual action in the studio is about as dull as you may expect. Fans will no doubt find it interesting to see the band at work, regardless of having to hear a 30-second song hundreds of times.

In the end, Absolute Polysics isn't the best thing Polysics has ever done, but it's not bad by any means. The songs will likely translate better in a live setting, which is where people should be seeing the band anyway. If nothing else, Absolute Polysics is simply a good excuse for the band to go out on tour and tear up stages around the world. Who could blame them for that?

"P!"


"Shout Aloud"


"Beat Flash"


"Young Oh! Oh!"

Videos of the Week 9/20/09

Hondalady "In A Model Room"


Found this one posted on Omodaka's site. Looks like he's doing a DJ set at an event with Hondalady. Anyway, this is a nice and simple video from Hondalady. I'm not sure what it has to do with P-Model's album In A Model Room though. ^__^

Hit the jump for more!


Polysics "Computer Obaachan"


Polysics has a new album out (hint: review coming soon!). This is not on that album, but it was on the DVD that came with one of its singles (which I reviewed here). It's a cover of an old children's song called "Computer Obaachan." The single is well worth the price, even if just for this one rare live track. Super cute!

Maximum the Hormone "Tsume Tsume Tsume"


This is a bit of a random pick, but it is still the newest song from Maximum the Hormone. They've been taking time off so that one of their singers can get some rest and recovery from some throat problems. I can't wait to hear some new stuff from them. Oh, and this video is a bit weird. Sort of makes me think of Silent Hill...

Adachi Tomomi Royal Chorus "Yumiko" (Italian version "Romeo")


I don't know why I thought to look up Adachi Tomomi, but I'm glad I did. There are actually a few new videos up, like this one. It's an Italian group doing a version of Tomomi's "Yumiko," renaming it "Romeo." I was skeptical at first, but I think they actually managed to make it even more awesome.

Weeble "Restroom"


And, of course, it would not be a post on the Internet this week without at least a little timely Kanye West humor. Can this be over now please? Thanks!

Mirco-Review: Polysics - Young OH! OH!

Just got the new Polysics single Young OH! OH! today. I managed to get the DVD version, and I am damn glad I did!

The DVD is 11 live songs from a show at Club Quattro from April of 2009. The chosen songs are mostly from their older catalog, stuff like "Bye Bye Red Sneaker" and "Which!," but that also have some newer ones like "Oh! Monaliza" and "Sony-san." They also wear their classic blue suits with the military-style hats. Oh, and the best thing ever? They do a live version of "Computer Obaachan"!!!!!!

But that's just the extra stuff. The single itself is great. "Young OH! OH!" is a bit catchier than the previous double single "Shout Aloud! / Beat Flash." The b-sides are also very cool. Like many of their non-album tracks, "Do You Remember?" is pretty silly and has a goofy, deep voice repeating the title. There's also a live version of "Shout Aloud!" (from the same live show, but not on the DVD) so if you missed the single, then you can still get the song.

The price for the entire package is almost a steal. You'll get an hour of new Polysics material for around $15. Obviously I highly recommend that you pick it up.

Check out some relevant video clips after the jump.

Videos of the Week

Going to kick off a new feature today, the rather self-explanatory "Videos of the Week."

Every week, I'll round up a few of the videos that have caught my eye. They'll be a mix of new and old and not always Japanese, though you can rest assured that most of them will be about Japanese music.

Without further ado, here's the first one:

Mouse on the Keys "Saigo no Bansan"


This is the first I've heard of these guys, and it totally blew me away. The song is cool, but this video really takes it to a whole new level. I absolutely love its dark, gritty Noir feel. Perfect.

Hit the jump for more!



Polysics "Young Oh! Oh!


New single from Polysics. Absolutely crazy, as usual. Seriously, just try and follow the logic of this one. You can't! There isn't any!



I don't remember now where I got the link to this, probably someone on Twitter. New music from Hiroshi Sakaue, a singing grandpa, slathered with Auto Tune. Weird.

History of Buck-Tick


A 10 part history of the very early Buck-Tick days, all in English! A must watch for any BT fan, to be sure.

Susumu Hirasawa "Solar Ray 2" Live


A mesmerizing live solar-powered performance from electro genius Susumu Hirasawa. I could listen to the into forever.

9mm Parabellum Bullet "Punishment" and "Discommunication" Live


A brutal live performance from the always intense 9mm Parabellum Bullet.

Faith No More - Reunion Show at Brixton Academy


And speaking of live...Back after a million years, here are the first two songs from the recent Faith No More reunion show. Amazing stuff!

That's all for now. What have you been watching lately? Share your links in the comments, because it's fun to waste time watching stuff!

Polysics

Polysics are the pinnacle of new-wave synth-punk, the result of years of work put in by Yellow Magic Orchestra, P-Model, The Plastics and, most importantly, Devo. Polysics itself has been around since 1997, slowly working their way up the charts and oversea into clubs around the world. Signed both to Sony and MySpace records, they are in a unique situation to be able to easily promote themselves all over the globe. They have launched several successful mini-tours of America and the U.K. to larger and larger groups of rabid fans, and have played to massive crowds in Japan. While the band's sound has shifted subtly over the years from an all out wall of synth-punk noise to a much more restrained pop mentality, do not be fooled. There is still much your ears have to fear from Polysics.

For instance, there are the Nord-generated lo-fi glitches and soaring electric melody from Kayo, Fumi's furious bass-lines, Yano's relentlessly pummeling drums and Hiro's spazz guitar and spazzier vocal work. I say "vocal work" because quite often he's screaming, chanting, or just spouting gibberish. Polysics is a great band for anyone afraid of bands singing in a foreign language, because just about everything will be foreign to someone. Poly-lyrics are a mish-mash of English, Japanese and what Hiro calls "space language" that is sent down from above into his brain. There's something there for everyone to be confused by.

While these elements have always been present in their music, it has gradually been cleaned up over the years. Their punk spirit is still there, but their desire for mainstream pop acceptance is showing more than ever. Not that this is entirely bad. Songs like "Electric Surfin' Go Go," You-You-You" and "Moog is Love" are pop masterpieces with a spine, something that is woefully missing from 99.9% of the candy-coated fluff that usually fills the charts. And let's not forget "Baby BIAS," possibly the best pop song ever written, that appeared on Now is the Time!. Now there is a song that could have sold a million copies outside of Japan if handled correctly.



While Polysics have been busy trying to break into the pop world, some of what made Polysics Polysics in the beginning, namely their experimental spirit and abrasiveness, has been downplayed. There are still plenty of head-scratching time signatures, dissonance and totally brutal tempos, but the elements that would have been pushed to the front in the early days are now set far back in the mix as sonic filler for the more obvious hooks.

Much of this change in sound can be attributed to one thing: playing live. Most recently, Polysics has said that they work out new songs in a much more live way, and their live shows are only getting bigger and bigger. The songs are often stripped down to their bare essentials, showcasing the members' incredible proficiency as players over the usual layers of synth noise and sound effects that sometimes obscure the more technical details in their early work.

Polysics are many things, but lazy is not one of them. What never changes is the high quality, originality and genuine sense of fun in all that they do, be it in the studio or on stage. Their albums often feel more like a simple collection of current songs than individual bold statements. More like "here's what we have right now" than "here's what we have to say." People looking for profound introspection into the human condition would do better looking elsewhere. They've also managed to keep their own unique identity despite the high pressure to conform to more traditional sounds. Sure, they've matured, but they are still pushing the limits of new wave rock. They are gradually working their way into the mainstream, subverting it from the inside. For a true new-wave, new-pop, new-rock thunder, you can do no better.

BUY POLYSICS RELEASES FROM CDJAPAN AND AMAZON

Young Oh! Oh!




Official Site
MySpace

Members:
Hiroyuki Hayashi - Vocals, Guitars, Programming
Kayo - Synthesizers, Vocals
Fumi - Bass, Vocals, Synthesizers
Masashi Yano - Drums, Vocals

Albums:
1st P - 1999
A.D.S.R.M! - 1999
Neu - 2000
Eno - 2001
Lo-Bits - 2002
For Young Electric Pop - 2002
Kaja Kaja Goo - 2003
National P - 2003
Polysics or Die!!!! - 2004
Now Is The Time! - 2005
Karate House - 2007
We Ate the Machine - 2008

Shout Aloud!


Moog is Love


Rocket


Black Out Fall Out


New Wave Jacket


Each Life Each End

Otaku USA Magazine #11

It's time again for another fantastic issue of Otaku USA Magazine to stomp its way into better magazine sellers everywhere!

This time around, I've got a nice interview with my heroes Polysics. I managed to catch them in the phone just before they kicked off their latest US tour.

There are also album reviews of Saitone, Boom Boom Satellites and 9mm Parabellum Bullet for your merit debating pleasure.

Of course, that's just my own personal neck of the woods. There's a ass-ton of the usual great content, from games reviews, interviews, manga and anime talk, figures and much more. Plus, in case you didn't notice last time, the cover price is almost half of what it used to be! You can't lose. I hope you get a chance to pick it up soon. There's much more to come, so stay strong, true believers!

Review: Metal Ikka - The Japanese Metallica Tribute Album

Tribute albums are a tricky thing. Covers in general are a bit on the lame side to begin with, and a straight up cover, without the band molding the song into its own style or reinterpreting the original content in a new way, is just an embarrassment all around. It's a fine line between paying homage to the original, and just using it as a crutch for inadequate creativity and a lack of talent for creating something new in the first place. Being able to not only make the song interesting to long time fans as well as totally change it in a way that seems to amplify its greatness, if not flat out improve upon it, is a rare feat.

We've seen some recent Japanese tribute albums that fell well short of the mark. The Weezer and Radiohead tributes come to mind. Both of these are riddled with too many bands taking themselves a little too seriously, and singing the English lyrics with more than a little trouble. A lot of that falls on the original content, which is already loaded with the respective band's heaping helpings of OMG we're Weezer or OMG we're Radiohead baggage.

Now we've got another tribute to another band who, in all likelihood, have had some influence even on bands like the two aforementioned trailblazers. Metallica, for many reasons, are one of the biggest bands on the plant, or at least they were a few years ago. They have legions of absolutely rabid fans that eat and breathe Metallica 24/7, who worship them like gods and follow their every move. It's safe to say that to many fans there will never be anything as great as the original songs, so any attempt at a tribute is doomed to fail even before it gets off the ground. Yet for those of us with a slightly broader perspective, there might still be room for some interesting interpretations.

That's where Metal Ikka comes in. It's eleven songs and forty-eight minutes of pure Metallica madness. Yet even these great songs are rife with chances to fail in the wrong hands. How does Metal Ikka stand up to the competitors? Can anyone hope to shred like Hammett or snarl like Hetfield? Let's take a listen and find out.

The album kicks off with “Sad But True” from 10 Feet. What starts off sounding like the aforementioned straight-up cover quickly jumps into all new territory with a fast break beat, then much heavier and faster guitars. Overall the band sound a little like Electric Eel Shock with bouncing nu-metal riff in place of the hard rock approach. They don't bother changing it up much other than to add a few breaks and builds. Still, a very rockin' song.

9mm Parabellum Bullet keep the energy high with “Motorobreath.” They play it pretty close to the original, a little faster and with their usual brash and noisy production. While they don't really add anything to the song other than a few new odd-time stops and starts, they do manage to breathe the same fire and brimstone that fuels the original. In fact, drummer Kamijo Chihiro adds a massive amount of fury to the drums, totally blowing away Lars' original performance.

After the extend intro, “Creeping Death” by Razors Edge is almost totally deconstructed and rebuilt into a very tight and very fast ska-punk blitz. They run the song through several time and tempo changes, mostly from fast to much much faster, which is nice since the original, while iconic to say the least, is also a bit on the slow and plodding side. These guys take all the time tested motifs and apply them in very cool new ways. It's a crazy, fast and, at time, pretty funny ride.

Fuck You Heroes run “Metal Militia” through its paces, stick very close to the original, mealy adding some incomprehensibly screamed vocals and a generally heavier sound. It's basically just an updated version of the original, which is fine, since the original is quite awesome on its own.

When I first saw that Beat Crusaders were doing “One” I knew we were in for a treat, and the good time, tongue-in-cheek, feel good rockers deliver. They turn one of the darkest Metallica songs into what is both a fitting tribute, and also something very close to parody. It's a funky pop-rock take, something that might only be hilarious to people who have the original song imprinted note-for-note into their DNA. They absolutely fly through all of the originally elongated sections, distilling their essence down to easily digestible pills, which actually amplifies the greatness of the original material. Again, it's done in a way taken to almost Weird Al-ian territory, but it's also done in a way the proves Beat Crusaders absolutely love the song.

“Through the Never” is an interesting deep-track choice by Uzumaki. Not exactly one of Metallica's most memorable songs, they nevertheless turn it into a slick nu-metal/industrial dance track. For the most part they ignore the original in favor of simply lifting a few riffs and beats and applying them to the dance-track structure. It's still plenty heavy and dark, but much more suited to, say, an intense driving game or football highlight reel.

The opening riff to “Seek and Destroy” is something that you don't want to mess with. It's one of Metallica's most memorable, and Insolence knows it. While keeping all the notes in the right place, they manage to add a White Zombie swagger to the song, with a deep, Ministry-esque yelling vocal style and deeper guitars. They slow the beats down to half-time and generally let the songs drag, turning it into a doom-metal piece with a few electro scratches and a hollow, echoing chorus. When the solo hits halfway through it suddenly goes into double time, with a break beat similar to that of 10 Feet's opener. Things then fall back into sludgy mode for the end.

Totalfat take on “Fuel.” They tread very close to the original, even singing very much in Hetfield's style. They break it up a bit with some speedy pop-punk breaks and stomping riffs, but for the most part it adds very little to the equation.

My most highly anticipated track is next, that being Polysics' cover of “Enter Sandman.” While they (in this case probably just Hiro) basically play the original, it's a totally electro/industrial version, almost devoid of guitars, pushing them very far back in the mix. It's just as much of a tribute to P-Model's “Enola” as it is “Enter Sandman.” Sadly, most of the performance is phoned-in and very flat, with Hiro's vocals being a real low-point. While as a fan I find it to be a big disappointment, it also won't be winning over anyone new to Polysics.

2Side1Brain continue the album's second half decline with are very whiny emo-metal version of “St. Anger.” This is exactly the sort of thing I was hoping would be absent from this tribute, and up until this point Metal Ikka is a very pleasant surprise. Unfortunately these guys really drag the rest down with a pretty limp effort. The touchy-feely style has never suited Metallica, as evidenced on some of their more recent output, and 2side1Brain only make things worse.

Thank god Outrage is there to save the day with a blistering version of “Fight Fire With Fire.” Sure, they play the song note for note along with the original, but in this case it's a welcome pallet cleanser after the previous misfires. If you're at all familiar with Metallica's original, then you already know what Outrage's version sounds like. Much like the rest of the album, they bring a heavier overall feel, more a result of modern production techniques than anything else. If this were placed high up on the track list it would probably be much less of a stand out, but as it is it ends the album with a very sweet stamp of pure heavy metal.

Long story short: if you are a true Metallica fan, then you must get Metal Ikka. If you are a fan of several of the bands in the line-up, then you must get Metal Ikka. You will not be disappointed. Sure, it might quickly fade in glory, but the rush of nostalgia and the kick-ass energy it delivers are well worth the price. There are probably a few tracks that will be constantly skipped, but they are very few, and conveniently grouped together.

Finally, if you haven't noticed by now, there is one almost unforgivable omission from the track list. There isn't a single track from Master of Puppets! How this is possible is well beyond my own ability to reason. I suppose everyone has their own favorites, but why anyone would want to do something off of The Black Album or St. Anger in lieu of, well, anything off of Puppets boggles the mind. Maybe it's just too sacred an album to even consider the attempt? At any rate, absent friends aside, pick up Metal Ikka and rock the fuck out.

BUY METAL IKKA HERE!

Polysics - Live - Chicago 11/09/08

Look. I'm old. Well OK, getting old. With ever increasing frequency, I find myself eschewing the outside world in favor of getting all my entertainments through a series of tubes, intravenously pumping directly into my system while I sit firmly planted in my ass-groove. Perfectly temperature controlled, no smoking, free drinks and no sweaty dudes. Well, no uninvited sweaty dudes, at least. It takes a lot to pry me from my hikikomori revelry. Something that can break through my dread for human contact and foreign lands.

I drove 1000 miles, through three states, emptying my pitiful bank account in the process, all to see a band from Japan play in a small club on the outskirts of Chicago for about an hour. That's not hyperbole, that's fact. Actually, I've done it twice now, and I'll probably do it again, because...

I love Polysics.


[Note: Top photo by me, all the rest by AceofClub5, originally posted and used with permission by Japantor.com. Check out the full post for many more incredible Polysics photos!]

I'll spare you the boring details of our (I dragged my [admittedly willing] wife along with me) oh-so bland trip through Minnesota, Wisconsin and Illinois. Suffice it to say that it was flat, tan and full of many ideal places that one could bury all sorts of bloody deeds. Not that I was making plans or anything.

We made it to the Abbey Pub right on time. As someone who always expects everything that can go wrong to most certainly follow though, if not twice or three times, I was very happy to find our names were indeed on the guest list as promised, thanks to my peoples at Sony and MySpace. (Kisses!) Of course, I did have to guide the ticket dude's eyes to our name, writ large on the left of the list, after his own attempts failed...repeatedly. This is what novelists call “foreshadowing.” Are you taking notes?



We had just enough time to spend all kinds of money on t-shirts, sweatbands and buttons, all handed to us by Hiroyuki Hayashi, front man and Polysics mastermind, himself. Having met and talked to him on their last trip though Milwaukee, I was all cool and calm and totally didn't get my geek juice all over him. I knew that the band always took time after their show to come back out and talk to fans, signing everything shoved under their noses (this is not a metaphor, but in fact an accurate description of their height ratio to us comically tall Anglos,) and posing for blurry cell phone pics. Plus, I wanted to talk to the entire band, and didn't want to burn Hiro out with too much ZB time. I'd just wait around afterward, kidnap them all, toss 'em in our trunk, then hug them and squeeze them and call them George forever. This is what literary-types call the reiteration of the hero's tragic delusion of grandeur.

We found a place to sit, drink some Windex, and silently heckle the two opening bands via text messages and whispered snickers. Both bands had their high points, most notably in the area of not blatantly punching us in the groin or killing puppies, but also did have their share of faults. Since I wish to keep this light, positive and to-the-point (too late!) I'll just say that I won't mind never hearing either of them again. It's a win-win, really.



One of the ample cool things about Polysics is that even their set-up music is great. They played all sorts of great stuff from the '80s and '90s, like Yellow Magic Orchestra, Devo, The B-52s, Ah-Ha (the crowd participation on this one was something special,) even “Thieves” by Ministry, a very present surprise. During all of this, once again, the band themselves was setting up their gear. Much like last time, this sort of blew me away. Here's a band that plays to tens of thousands in Japan, yet here they are schlepping their gear around in front of everyone. Both cute and sad at the same time.

Eventually they cleared the stage. I should mention that by now the Abbey was just about packed. Not like sardines in a crushed tin box by any means, but presently full with room to move around. It was obvious that just about everyone was here for Polysics, the band that was opening their last MySpace sponsored tour and was now the headliner. A lesson learned? Hey, anything is possible.



It wasn't long before they were re-introduced to, as they say, thunderous applause and much rejoicing. It is at that point that the rest of the night becomes something of a blur. You see, while I may be more at home, well, at home, surveying all the lay before me with critical and general off handed scorn, when I get into certain situations I go sort of crazy. Not clinically so, and not obnoxiously so, but I do “move” and “jump around” and “flail around like a totally un-cool, not to mention awkward, scarecrow with his ass on fire.” I remember they opened with “Buggy Techinica,” played crowd favorites like “Rocket,” “I My Me Mine” and “Baby BIAS.” I remember Hiro sticking his ass out into the audience several times, the final time running back a bit, rubbing the offended area with what looked like at least a little concern for its well being. I remember Kayo, the keyboard player, doing her (I must admit, rather Nazi-like) salute, later jumping around with pom-poms and playing a for-real recorder. I remember Fumi, on bass, playing like a rock, nay, a mountain. I remember thinking that Yano need to get one of those insane drum risers like Tommy Lee had. You know, the one that elevated, motored out over the crowd, then turned upside down, all while he was pretending to know how to play the drums? I simply couldn't see Yano the entire night. Even being one of the taller members of the crowd, he was just too too wee for me to see. Nevertheless, he was the pulsing heart at the center of Fumi's mountain of bass.

The band, in a word, slayed. Not only do they have some very complex tunes for, essentially, a poppy new-wave band, but live they tend to wear their metal roots on their sleeve. They are heavy, loud, fast and inhumanly precise. Hiro never once stopd moving, jerking bank 'n' forth like a man possessed by gods of lightening, and must release that magical blue fire through his voice and his guitar and his feet. The band behind him worked in telepathic unity, obviously honed through relentless touring and pure-bred dedication to their cause. When they busted out “We Ate the Machine,” they transformed into a four headed heavy-metal dragon, Yano breathing fire with his double bass rush, Fumi and Hiro giving themselves long-term brain damage through some of the most fully rotational head banging I've ever seen (and I've listened to Slayer for a very long time). Their cover of “My Sharona” saw them back in pure new-wave form, ice cold and robotic. “Baby BIAS” turned the room into a rave. “Electric Surfin' Go Go” ended the show with the best of all worlds, rock, pop, new-wave and simple feel-good fun.

Through it all, the crowd was a mix of slack-jawed onlookers, curious bystanders slowly finding themselves won over by the jump-suited band, and furiously devoted maniacs shouting along with as much Engrish as they could. While I could have done without the one guy shouting “su-geeeeeiii!” behind me all night and the other guy in front of me who had either just run away from home or was smuggling a team of midget jugglers in his backpack, the crowd was otherwise stellar. There wasn't a single cigarette butt crammed into my eye, no couple copulating on my leg, even “Too Tall” Jones the man-bear-pig stayed at home. It was very nearly the perfect crowd, with the perfect crowd being, of course, no crowd at all.



Afterward the crowd dispersed almost immediately. It was sort of shocking. Yet I knew better. I knew that if we waited around for awhile that the band would slowly creep out and we dedicated true-believers would have a few all-too-brief moments to chat them up and have them write cute things on our stuff. I had big plans. Not only did I have their new album ready to go, but I had also brought Kayo's solo album. Last time I had impressed them with four Polysics edition Mr. Monster figures. I wouldn't be able to top that, but I figured I'd get some sort of adorable reaction from my favorite keyboard player whenI whipped it out. The CD! You perverts...

Suddenly, mister I Can't Read More Than One Letter At A Time ticket dude and his friend Slightly Bigger Lunkhead started braying something about everyone having to get the hell out. Now, I don't doubt that these two princesses were worried about turning back into pumpkins before they could get back home to their step-sisters, but this struck me as odd. I had even asked the merch babe and Hiro himself if they were coming out later for autographs, and they both said yes. We resisted for a bit, wandering back over the the merch table, pretending to browse, but Dee and Dumb were rather insistent. Being the bold man full of backbone and black stuff with a wife made of hardened steel, we naturally stood our ground, taunting the size of their man parts and pointing out the dubious state of their lineage. No, of course we just left.

That's it. That's my tale. Anti-climactic? Yes, but it wasn't what I had (only potentially, in my fevered imagination) lost that I found myself dwelling on (after a couple hours of bring really depressed about it.) It was what I had gained, what I had just experienced that I came back to. I had just seen my favorite band in the world deliver a performance worthy of the Tokyo Dome, of Wembley, of Times Square. They did it all full of passion and energy, never once missing a beat or relenting one iota. This was what I drove 1000 miles for. Hopefully, next time they will be able to visit a bit closer to my icy confines, but if not, I'd do it all over and over and over again.

I My Me Mine


Electric Surfin' Go Go


Pretty Good


Rocket


Coelakanth Is Android


Baby BIAS

The Surfactants

The Surfactants is not a Japanese band. The Surfactants is my band!

Sorry for the brief non-Japanese self-promotional digression...

The Surfactants was formed in 2005 by Zac Bentz. A long time drummer and house and trance DJ, Bentz eventually found a new found inspiration in the Japanese new-wave spazz rock band Polysics. It wasn't long before he began writing songs in the style of his new found heroes. Eventually he called up a few of his friends, all veterans in the local music scene, and The Surfactants was born.

Fusing the aforementioned new-wave synth pop with their love of classic metal bands like Iron Maiden and Metallica, the band quickly found their own unique voice in a sea of abysmal synth-pop wannabees. Instead of adopting the usual batch of '80s kitch, they instead looked forward to a new style of heavy, dueling guitars, stuttering beats, screaming synths and pounding bass.

The vocal style of Marcus Matthews was also something outside of the usual new-wave style, eschewing the fractured, nerdy approach and instead falling closer into a Depeche Mode or Foo Fighters realm. This unexpected clash of styles sent audiences reeling and critics into fits of adoring apoplexy.

The band has released two untitled mini-albums and an mp3 only album that collects both of the two mini-albums into one solid package. The recent past has seen a change in lead singer with the replacement of Matthews with Greg Cougar Conley, who brings with him a dedication to the same avant-avant-garde style. One can only hope they release a new album in the new future.

BUY THE SURFACTANTS RELEASES AT AMAZON AND ITUNES

Live Clips



Official Site
MySpace

Members:
Eric Anderson - Bass
Zac Bentz - Drums, Programming
Greg Cougar Conley - Vocals
Brett Molitor - Guitar

Ex-Member:
Marcus Matthews - Vocals

Releases:
Untitled 1 - 2006
Untitled 2 - 2007
Diminishing Returns - 2008

Interview

Polysics Live in LA

One very quick note:

A Japanator reader saw Polysics live recently in LA. In this post, he tells the tale. Also, he shares some of, and I'm being honest here, some of the best live rock photography I've ever seen.

That's why I'm bringing this to your attention. Even if you're not a huge Polysics fan, you should check out Ace0fClub5's photography skills. There's some truly great stuff to look at!

Head on over to Japanator and be prepared to have you eyes bleed with delight!

October/November Calendar - Polysics - US/Canada Tour

October 18 - November 14
Polysics
US Tour

Sat-Oct-18　Los Angeles, CA
Roxy - www.theroxyonsunset.com

Sun-Oct-19 San Diego, CA
The Casbah - www.casbahmusic.com

Tue-Oct-21　Phoenix, AZ
Clubhouse - www.clubhousemusicvenue.com

Wed-Oct-22　Tucson, AZ
Club Congress - www.hotelcongress.com

Fri-Oct-24　Dallas, TX
The Door - www.thedoorclubs.com

Sat-Oct-25　Austin, TX
Emo's Lounge - www.emosaustin.com

Sun-Oct-26　Houston, TX
The Meridian - www.meridianhouston.com

Tue-Oct-28　Atlanta, GA
The Earl - www.badearl.com

Wed-Oct-29　Charlotte, NC
Tremont - www.tremontmusichall.com

Thu-Oct-30　Washington DC
Black Cat - www.blackcatdc.com

Fri-Oct-31　New York, NY
Mercury Lounge - www.mercuryloungenyc.com

Sat-Nov-01　New Haven, CT
Heirloom Arts Theatre - www.myspace.com/heirloomartstheatre

Sun-Nov-02　Boston, MA
Middle East - www.mideastclub.com

Tue-Nov-04　Montreal, QC (Canada)
Club Lambi - www.myspace.com/clublambi

Wed-Nov-05　Toronto, ON (Canada)
Horseshoe Tavern - www.horseshoetavern.com

Fri-Nov-07　London, ON (Canada)
Call The Office - www.calltheoffice.com

Sat-Nov-08　Detroit, MI
Magic Stick - www.majesticdetroit.com

Sun-Nov-09　Chicago, IL
Abbey Pub - www.abbeypub.com

Thu-Nov-13　San Francisco, CA
Bottom of The Hill - www.bottomofthehill.com

Fri-Nov-14　Pomona, CA
Glasshouse - www.theglasshouse.us

Tue-Nov-11 Denver, CO
High Dive -www.hi-dive.com

Source: Polysics.com

September Calender - Polysics - EU Tour

September 6-28
Polysics
EU Tour

06 - Portugal/Porto - Beat It Festival
11 - Itally/Milan - Music Drome
12 - Italy/Rome - Circolo degli Artisti
13 - Italy/Padova - Unwound
17 - Belgium/Brussels - VK
20 - France/Le Havre - L'orange Bleue Vitry Le Francois
21 - France/Grand Mix - Tourcoing
22 - France/Paris - Maroquinerie
24 - France/Le Havre - Caberet Electrique
25 - France/Rennes - Antipode
26 - France/Bordeaux - Son'Art
27 - France/Marseille - Marsatac Festival
28 - UK/London - Kings College This Ain't No Picnic

Source: MySpace

BUY POLYSICS RELEASES HERE

Japanator Radio 45

Welcome once again to your weekly dose of auditory bliss, direct from Japan!

This week we've got new music from epic metal masters Versailles, nu-metal masters Maximum the Hormone, pounding dance goddesses Perfume and new-wave spaz rockers Polysics in the Artist Spotlight! Oh, and much more.

Also this week, I have some homework for you, dear listeners. It's pretty simple really. Just leave a comment. That's it! I know we get thousands of listeners every week and I'd love it if we could hear from all of you. I know most of you will continue to hide in the shadows, but I really want to hear from as many Jtor Radio fans as possible. Hit up the comments with whatever you want, just a "Thanks!" or a "learn how to pronounce Japanese overnight please!" or your own "people to kill" list...whatever. Just comment! 

Thanks, and enjoy the show!

DOWNLOAD EPISODE 45 ON JAPANATOR!

Check Me Out In Otaku USA #7 - Out Now!

Just a quick note: Once again I've got a bunch of stuff in the new issue of Otaku USA Magazine!

First off, there's my interview with the hugely popular vis-kei metal band Versailles. They recently played at A-kon in Dallas TX, and I had a chance to fire a few questions their way. They talk about their visual aesthetic, lyrics and rabid fans.

I've also got a couple album reviews for Budo Grape's Aimore and We Ate the Machine from Polysics.

You can run out of grab it now. Please let me know what you think. Thanks again to all the Otaku USA staff and crew for putting together the best Japanese culture magazine out there!

Polysics - We Ate the Machine - Lyrics and Translation

I've made it no secret here that I'm a huge Polysics fan. I always treat every band I profile with equal love, but when it comes to Polysics, well, all of that goes out the window.

The band is well known for its unusual lyrical style, something which no doubt contributes to the relative lack of translations out there. Luckily there are some brave souls who are willing to test their mettle and tackle a Polysics album. People like yuri_nikko.

I've previously posted the work of LiveJournal member yuri_nikko and her community j_music_lyrics. I highly recommend checking it out if you're interested in getting your own obscure translation done. She is incredibly dedicated and does a great job. She's done both of the other lyric posts here on the A-Z; Kayo's Mitsuami Heroine and Supercar's Highvision.

Most recently I put her to work on the new Polysics album We Ate the Machine and a few other songs and b-sides: "Baby BIAS," "Raw" and "Super Spin Girl." The work is finally done! Once again yuri_nikko has done a superb job, not to mention a huge favor to Polysics fans everywhere.

You can check out all 16 tracks after the jump. Make sure to leave a comment and let yuri_nikko know that her work is appreciated!



ALL TRANSLATION DONE BY YURI_NIKKO FROM J_MUSIC_LYRICS

Baby BIAS
作詞 & 作曲: ハヤシヒロユキ
{Lyrics & Composition by Hiroyuki Hayashi}

僕のスピーカー　ワイド
おまけにもらった　ラジオ
またたく　スイッチオン
あわせるスタート
ハシゴで　歌った　タイミング

boku no supiikaa waido
omake ni moratta rajio
matataku suichion
owaseru sutatto
hatsugo de utatta taimingu

My speakers are wide
They're right by the radio
with glittering switches
to start them up
I sang with each step, timing

揺すられて　たたかれて
マイナスドライバー　どっちかで
僕のスピーカー　ワイド
たたいてヨロシクネー

yusurarete tatakarete
mainasu doraibaa docchi ka de
boku no supiikaa waido
tataite yoroshikunee

They shake, knocking
my screwdriver this way and that
my wide speakers
hello there beat

ベイビー　バイアス　ベイビー　バイアス
ベイビー　バイアス　ベイビー　バイアス
高層ビルから落ちるよ

beibii baiasu beibii baiasu
beibii baiasu beibii baiasu
kousoubiru kara ochiru yo

Baby bias Baby bias
Baby bias Baby bias
Fall from the skyscrapers

僕らのスリーポイント　暮らしネット
おかげでゆずった　マリオン
かがやく　スピードオン
つかれるスマート
花火にうつった　アージオン

bokura no suriipointo kurashi netto
okagede yuzutta marion
kagayaku supiido on
tsukareru sumatto
hanabi ni utsutta aajion

We're a three-point, a living net
Thanks to conveying Marion
glittering speed on
play it smart
fireworks reflecting urge on

揺すられて　たたかれて
マイナスドライバー　どっちかで
僕のスリーポイント　暮らしネット
たたいてもらってネー

yusurarete tatakarete
mainasu doraibaa docchi kade
boku no suriipointo kurashi netto
tataite moratte nee

They shake, knocking
my screwdriver this way and that
We're a three-point, a living net
We've got the beat

ベイビー　バイアス　ベイビー　バイアス
ベイビー　バイアス　ベイビー　バイアス
放送局から落ちるよ

beibii baiasu beibii baiasu
beibii baiasu beibii baiasu
housoukyoku kara ochiru yo

Baby bias Baby bias
Baby bias Baby bias
Fall from the broadcasting station

ベイビー　バイアス　ベイビー　バイアス
ベイビー　バイアス　ベイビー　バイアス
高層ビルから
ベイビー　バイアス　ベイビー　バイアス
ベイビー　バイアス　ベイビー　バイアス
高層ビルから落ちるよ

beibii baiasu beibii baiasu
beibii baiasu beibii baiasu
kousou biru kara
beibii baiasu beibii baiasu
beibii baiasu beibii baiasu
kousou biru kara ochiru yo

Baby bias Baby bias
Baby bias Baby bias
From the skyscrapers
Baby bias Baby bias
Baby bias Baby bias
Fall from the skyscrapers

僕のスピーカー　ワイド
おまけにもらった　ラジオ
またたく　スイッチオン
あわせるスタート
ハシゴで　歌った　タイミング

boku no supiikaa waido
omake ni moratta rajio
matataku suicchion
awaseru sutatto
hatsugo de uttata taimingu

My speakers are wide
They're right by the radio
with glittering switches
to start them up
I sang with each step, timing

-------------------

Raw (from "Rocket" single)
作詞 & 作曲: ハヤシヒロユキ
{Lyrics & Composition by Hiroyuki Hayashi}

おいしいご飯が食べられるよ　(ヤッタ!ヤッタ!)
炊きたてお米が食べられるよ　(ヤッタ!ヤッタ!)
口からO2吸ってはためてね
CO2とか吐かなきゃダメだね
おいしいご飯がもう炊けたよ　(ヤッタ!ヤッタ!)

oishi gohan ga taberareru yo (yatta!yatta!)
kashikitate obei ga taberareru yo (yatta!yatta!)
kuchi kara O2 sutte ha tametene
CO2 toka hakanakya dame da ne
oishii go ha ga mou taketa yo (yatta!yatta!)

You can eat tasty meals (Alright! Alright!)
You can eat cooked rice (Alright! Alright!)
Breathe in the O2 with your mouth
It's bad to breathe in CO2
And now your tasty meal is done (Alright! Alright!)

いただかして
すぐかもして
ふえつづけて
大集合のフルサト

itadakashite
sugukamoshite
fuetsudzukete
ooshuu gou no furusati

We're gonna eat
Maybe really soon
Come one and all
Gather at our home

恋しい季節が訪れるよ　(まった!まった!)
たいがい毎年訪れるよ　(まった!まった!)
耳からしょっちゅう聴いてはアレダネ
記憶に残ると何でもダメだね
恋しい季節がもう終わるよ　(まった!まった!)

koishii kisetsu ga otozureru yo (matta!matta!)
taigai maitoshi otozureru yo (matta!matta!)
mimi kasrashoocchu kiite ha aredane
kioku ni nokoru to nani de mo dame da ne
koishii kisetsu ga mou owaru yo (matta!matta!)

You can visit those seasons you've longed for (Wait! Wait!)
You can visit them every year for sure (Wait! Wait!)
Its there if you always listen closely
It's no use trying to remember it
The season you love will end (Wait! Wait!)

いただかして
すぐかもして
ふえつづけて
再発見のフルサト

itadakashite
sugukamoshite
fuetsudzukete
saihatsuken no furusaito

We're gonna eat
Maybe really soon
Come one and all
Rediscover home

呼吸の乱れを気にする事などないから
それから偶然たまたま上手くいくこと少なくない

kokyuu no midare wo ki ni suru koto nado nai kara
sore kara guuzen tamatama umaku iku koto sukunaku nai

Because all your cares will go away
And then you'll realize all of the little pleasures

※Raw!　楽しみすぎない　ほっときすぎない　いただきすぎない
考えすぎない　いらだちすぎない　かきまぜすぎない
深まりすぎない　欲張りすぎない!!※

※Raw! tanoshimi suginai hotto kisuginai itadaki suginai
kangaesuginai iradachisuginai kakimazesuginai
fukamari suginai yokuborisuginai!!※

※Raw! Don't have too much fun, Don't be a loner, Don't eat so much
Don't think so much, Don't fret so much, Don't get stirred up so much
Don't be so deep, Don't be so selfish!※

おいしいご飯を残しちゃうよ　(ヤッタ!ヤッタ!)
炊きたてお米も残しちゃうよ　(ヤッタ!ヤッタ!)
口から糖分取ってはためてね
いらない成分出さなきゃダメダメ
おいしいごはんを残しちゃうよ　(ヤッタ!ヤッタ!)

oishi gohan wo nokoshichau yo (yatta!yatta!)
kashikitate obei mo nokoshichau yo (yatta!yatta!)
kuchi kara toubun totte ha tamete ne
iranai seibun desanakya dame dame
oishigohan wo nokoshichau yo (yatta!yatta!)

You gotta leave tasty meals (Alright! Alright!)
And you gotta leave the cooked rice (Alright! Alright!)
Suck in that sugar with your mouth
Spit out all the needless ingredients
You gotta leave tasty meals (Alright! Alright!)

いただかして
すぐかもして
ふえつづけて
桃源郷のフルサト

itadakashite
sugukamoshite
fuetsudzukete
tougenkyou no furusaito

We're gonna eat
Maybe really soon
Come one and all
to our fairyland home

呼吸の乱れを気にする事などないから
それから偶然たまたま上手くいくこと少なくない
思えば最近よくある話　それほど少なくない

kokyuu no midare wo ki ni suru koto nado nai kara
sorekara guuzen tamatama umaku iku koto sukunakunai
omoeba saikin yoku aru hanashi sore hodo tsukunakunai

Because all your cares will go away
And then you'll realize all of the little pleasures
There's so much yet to think about, and those aren't little things

(※くり返し) {Repeat}

-------------------

Super Spin Girl (from "Pretty Good" single)
作詞: Hiroyuki Hayashi | 作曲: Hiroyuki Hayashi/Fumi
{Lyrics by Hiroyuki Hayashi | Compositioin by Hiroyuki Hayashi/Fumi}

ダンクシュートが百発百中だとか
８ビートはキッチリ叩けずだとか
もう３セット　今日は１６セット
ダンクシュートを毎日１６セット

danku shutto ga hyappatsuhyakuchuu da to ka
8 bitto ha kicchiri tatakezu da to ka
mou san setto kyou ha juuroku setto
danku shutto wo mainichi juuroku setto

When your dunk shots never fail
You hit it on the money with 8 beats
Still 3 sets and today 16 sets
Everyday it's a dunk shot of 16 sets

ロングシュートで一発逆転だとか
ラッキータイムシュートはキメると８点だとか
もう逆転　結果６８点
ロングシュートは１発３点だ

rongu shuuto de ippatsugyakuten to ka
rakkiitaimu shutto ha kimeru to hachi ten da to ka
mou gyakuten kekka rokujuuha ten
rongu shutto ha ippatsu san ten da

When it's a long shot for things to turn around
You make sure to get 8 points on the lucky time shot
The turn around, the result is 68 points
The one long shot got 3 points

シャラ早わざ　磨いてるシューズ
シャララララ　うかれて踊る

shara hayawaza migaiteru shuuzu
sharararara ukarete odoru

Shala quickly polish those shoes
Shalalalala it's time to dance

Super Spin Girl
Super Spin Girl
Super Spin Girl
Super Spin Girl

ワルシビートがきっちり踏めるだとか
マウスパッドはあんまりいらない本当は
もう何遍も　そうだ１６セット
ダンクシュートを今夜も１６セット

warushibitto ga kicchiri fumeru da to ka
mausu paddo ha anmari iranai hontou ha
mou nanbenmo sou da 16 setto
danku shutto wo konya mo 16 setto

If you step on the Waltz beat right on
you really don't need a mouse pad
Still over and over, yes juuroku sets
Tonight's dunk shot is even juuroku sets

シャララまたまた　きたえてるワレーズ
シャララララ　笑顔で踊る　　

sharara mata mata kitaeteru wareezu
sharararara egao de odoru

Shalala more and more train volley's
Shalalalala dance with a smile

Super Spin Girl
Super Spin Girl
Super Spin Girl
Super Spin Girl

ダンゴだってyeah 一人で踊れるんだって
何事も経験だってね

dango datte year hitori de odorerundatte
nanigotomo keiken datte ne

Even if you're just a bug yeah you dance by yourself
Because you've still got experience

Super Spin Girl
Super Spin Girl
Super Spin Girl
Super Spin Girl

-------------------

We Ate The Machine lyrics

"Moog is Love"
作詞 & 作曲: ハヤシヒロユキ、フミ
{Lyrics & Composition by Hiroyuki Hayashi/Fumi}

地球上揺らすウーハー
騒々しい
頭上まで　突き刺さるリード
恐怖Shock Shock Shock

chikyuujou yurasu uuhaa
souzoushii
zujou made tsukisasasaru riido
kyoufu Shock Shock Shock

Rockin' the world with a sub woofer
All noisy
High into the sky, stickin' to the lead
Fear Shock Shock Shock

日本まで届くんだ
相当いいね
記憶底遡るビーと
We need need need

nihon made todokunda
soutou ii ne
kioku soko sakanoboru bitto
We need need need

Reachin' all the way to Japan
It's only right
At the back of your mind is this retro beat
We need need need

Stop that! What's better? OK let's go!

Moog is love
Moog loves the people

思考まで変えられるサウンド
恐ろしい
一緒くたにされないのが
Sharp! Good! Good! Good!

shikou made kaerareru saundo
osoroshii
isshoukuta ni sarenai no ga
Sharp! Good! Good! Good!

It's a mind altering sound
So wicked
Now don't go mixing them up
Sharp! Good! Good! Good!

Stop that! What's better? OK let's go!

Moog is love
Moog loves the people

-------------------

"Pretty Good"
作詞 & 作曲: ハヤシヒロユキ、フミ
{Lyrics & Composition by Hiroyuki Hayashi/Fumi}

頭振り起こされた まずはどうしよ
夜に星が消えた 夢じゃないだろ

atama furiokosareta mazu ha doushiyo
yoru ni hoshi ga kieta yume janai daro

I was jolted awake, what could I do
The stars vanished tonight, maybe I'm dreaming

ウソにすがるの まじない程度
効き目ないのも よくあるムード
ボクはドライ

uso ni sugaru no majinai teido
kikime nai no mo yoku aru muudo
boku ha dorai

Depending on a lie, it's a spell
Even if there's no effect, there's lots of mood
I'm all dry

Pretty Good One
Have a Good One
Very Good Fun

桜見てたら散った 次はいつだろう
そうゆうの触れるのやめた まずは変えてこう

sakura mitetara chitta tsugi ha itsudarou
souyuu no fureru no yameta mazu ha kaetekou

When gazing at cherry blossoms falling, when will they bloom next
But feelings like that have stopped, what could I change

マジメ 重度は避けたいけど
聞こえないフリできないモード
だけどドライ

majime juudo ha saketai kedo
kikoenai furi de kinai moodo
dakedo dorai

Though I avoid really serious things
I'm in the mood to pretend not to hear
but I'm just dry

Pretty Good One
Have a Good One
Very Good Fun

It's gonna take a few more minutes for you to clear up your head

頭ふり起こされた どうした
ムダな晴れ間に 月が昇った
アンニュイな空気の相談 興味ないだろ
とりあえず調子は上々 今日は忘れよう

atami furiokosareta doushita
muda na harema ni tsuki ga nobotta
annui na kuuki no soudan kyouminai daro
toriaezu choushi ha joujou kyou ha wasureyou

I pretended to wake up, but why
In useless weather the sun rose
I consult the listless sky uninterested
For now this is the best tune, I'll forget today

ウソにすがるの まじない程度
効き目ないのも よくあるムード
きっとドライ

uso ni sugaru no majinai teido
kikime nai no mo yoku aru muudo
kitto dorai

Depending on a lie, it's a spell
Even if there's no effect, there's lots of mood
Always dry

It's gonna take a few more minutes for you to clear up your head

Pretty Good One
Have a Good One
Very Good Fun

-------------------

"Rocket"
作詞 & 作曲: ハヤシヒロユキ、フミ
{Lyrics & Composition by Hiroyuki Hayashi/Fumi}

お庭に埋めた空中ロケット
丁度開いた
昔とどいた円盤レポート空へはじけた
浮かぶ　ギモンギモンギモン　なぜにハジケル
ギモンギモンギモン　なぜにそうなる
ギモンギモンギモン　今はどう思う
ギモンギモンギモン　誰も言ってない

oniwa ni umeta kuuchuu roketto
choudo hiraita
mukashi to doita enban repooto sora he hajiketa
ukabu gimon gimon gimon naze ni hajikeru
gimon gimon gimon naze ni sou naru
gimon gimon gimon ima ha dou omou
gimon gimon gimon dare mo itte nai

Buried in the garden is a rocket
it's just opened
It flew into the sky and sent back reports about UFOs
Floating why why why why was I shot in the sky
why why why why am I here
why why why do I feel this way now
why why why does no one say anything

戸締りしてた緊急ソケット
今はこなごな
想いつづったキミへのレコード
空へ飛ばした
浮かぶ　ギモンギモンギモン　なぜに飛ばす
ギモンギモンギモン　そしてどうなる
ギモンギモンギモン　未来どう思う
ギモンギモンギモン　誰も聞いてない

tojimarishiteta kinkyuu soketto
ima ha konagona
omoi tsudzutta kimi he no rekoodo
sora he tobashita
ukabu gimon gimon gimon naze ni tobasu
gimon gimon gimon shoshite dou naru
gimon gimon gimon mirai dou omou
gimon gimon gimon dare mo kiitenai

It closes its sockets urgently
and now its smashed
To you it still sends its records
sending them to the sky
Floating why why why why should I fly
why why why and how did this happen
why why why what do you think of the future
why why why why does no one listen

面舵ボート潜入したい
わりかし泳げるプールみたい
初挑戦ならトライトライトライ
進路を決めようスイミングスター

omokashi booto senkyuu shitai
warikashi oyogeru puuru mitai
hatsuchousen nara torai torai torai
shinro wo kimeyou suimingu sutaa

You want to sneak onto a row boat
it's more like swimming in a pool
It's your first try try try try
it's like choosing a career as a swimming star

お庭に埋めた空中ロケット
今日も開いた
夜に描いた円盤レポート空ではじけた
戸締りしてた緊急ソケット
今はこなごな
想いつづったキミへのレコード
空へ飛ばした

oniwa ni umeta kuchuu roketto
kyou mo hiraita
yoru ni egaita enban repooto sora de hajiketa
tojimarishiteta kinkyuu soketto
ima ha konagona
omoi tsudzutta kimi he no rekoodo
sora he tobashita

Buried in the garden is a rocket
it opened up today
it hurled a report into the night sky, about UFOs
It closes its sockets urgently
and now its smashed
To you it still sends its records
sending them to the sky

浮かぶ　叫ぶ　ギモンギモンギモン　なぜにハジケル
ギモンギモンギモン　なぜにそうなる
ギモンギモンギモン　今はどう思う
ギモンギモンギモン　誰も言ってない

ukabu sakebu gimon gimon gimon naze ni hajikeru
gimon gimon gimon naze ni sounaru
gimon gimon gimon ima ha dou omou
gimon gimon gimon dare mo itte nai

Floating Screaming why why why why was I shot in the sky
why why why why am I here
why why why do I feel this way now
why why why does no one say anything

-------------------

"Kikai Tabechaimashita" {I ate the machine}
作詞 & 作曲: ハヤシヒロユキ
{Lyrics & Composition by Hiroyuki Hayashi}

スマイルたった０円だよ
スラング言いえればヒーロー
スマッシュ叩け停電だよ
スタイル個々の主張

sumairu tatta zero en da yo
surangu iiereba hiiroo
sumasshu tatake teiden da yo
sutairu koko no shuchou

A smile costs zero yen
Using slang makes you a hero
Smash with all your power
Your style is all your own

スパンクおはよう大変だよ
フレンチ喋れヒーロー
帰るトマト戦争だよ
ドライブ飛ばせ急行！

supanku ohayou taihen da yo
furenchi shabere hiiroo
kaeru tomato sensou da yo
doraibu tobase kyuukou!

Spank good morning is painful
Talking in french makes you a hero
A returned tomato means war
Drive leaping at high speed!

わりかしガシンガシン
疑心疑心暗鬼暗鬼
ガタンガタンガタンガタン
I ate the machine

warikashi gashin gashin
gishin gishin anki anki
gatan gatan gatan gatan
I ate the machine

Quite a crunch crunch
Thought attack thought attack
Crash Crash Crash Crash
I ate the machine

ツバイアイン抜けてるよ
ナイフささるピンボール
だいぶきてる気がするよ
スライム呼ぶの趣向

subai ain nuketeru yo
naifu sasaru pinbooru
daibukuteru ki ga suru yo
suraimu yobu no shukou

A nectarine fell out
A knife slices the pinball
It seemed rather large
this plan of scream slime

スパイク痛いケガするよ
暗い誰か灯を
しゃべるトカゲ先生だよ
つらい夜なべ入魂！

supaiku itai kega suru yo
kurai dareka hi wo
shaberu tokage sensei da yo
tsurai yoru nabe jukkon!

You spike too hard
someone lights up the dark
It's the teacher of talk and shade
doing some heartfelt night work!

はじくとバインバイン
奇人奇人ダンシングダンシング
ブランブランブランブラン
I ate the machine

hajiku to bain bain
kijin kijin danshingu danshingu
buran buran buran buran
I ate the machine

Flip and vine vine
Strange strange dancing dancing
hanging hanging hanging hanging
I ate the machine

配線しすぎ良くなくない
はい　そうです
機械食べちゃいました

haisen shisugu yoku nakunai
hai soudesu
kikai tabechaimashita

If you're too wired, you won't improve
Yes, looks like it
I ate the machine

-------------------

"DNA Junction"
English lyrics

-------------------

"Kagayake" {Shine}
作詞 & 作曲: ハヤシヒロユキ
{Lyrics & Composition by Hiroyuki Hayashi}

光ない　疑ってる　無い無い　さまよってる
インサイド　ちらばってる　場内　繋がってる

hikari nai utagatteru nai nai samayotteru
insaido chirabatteru jounai tsunagatteru

No light, I'm in doubt, none none, I'm lost
Inside, I'm all scrambled, in this room, connected

間違いないと　ぶつかって　（Go)
想像内で　見違えて　（も）
挨拶なく　落ち込んで　（Go)
たいした事は　ない　（Go)

machigainai to butsukatte (Go)
souzounai de michigaete (mo)
aisatsu naku ochikonde (Go)
taishita koto ha nai (Go)

No mistake, we've collided (Go)
In my mind, it's quite different (still)
There's no greetings, sadly (Go)
It's no big deal (Go)

絶間なく　人　よろけて　上手に歩く

taemanaku hito yorokete jouzu ni aruku

Disconnected people, scattered walking good

まだない　助かってる　無い無い　くるまってる
将来　見つかってる　今回　気になってる

madanai tasukatteru nai nai kurumatteru
shourai mitsukatteru konkai ki ni natteru

Not yet, I'm saved no no all wrapped up
Future, I've seen it, this time I'm not worried

どうでも良いと切り込んで　（Go)
実際よりは見違えて　(も）
コメントせずに　落ち込んで　（も）
たいした事は　ない　（Go)

doudemo ii to kirikonde (Go)
jissai yori ha michigaete (mo)
komentosezu ni ochikonde (mo)
taishita koto ha nai (Go)

Break free from whatever (Go)
Just realize what's practical (still)
Without comment sadly (still)
It's no big deal (Go)

絶え間なく　人　よろけて　上手に歩く
音の鳴る場所　探して　未来へ向かう

taemanaku hito yorokete jouzu ni aruku
oto no naru basho sagashite mirai he mukau

Disconnected people, scattered walking good
Find the place where the sound plays, towards the future

雨が降る日も　光は輝き続ける

ame ga furu hi mo hikari ha kagayaki tsudzukeru

Even on rainy days the light continues to shine

-------------------

"Ponii to Raion" {Ponies & Lions}
作詞 & 作曲: ハヤシヒロユキ
{Lyrics & Composition by Hiroyuki Hayashi}

ポニーとライオン　皮膚が違う
ポニーとライオン　四つ足歩行が魅力

ponii to raion hifu ga chigau
ponii to raion yotsuashi hokou ga miryoku

Ponies and Lions have different skin
Ponies and Lions are interesting four-legged creatures

ポニーとライオン　歯が違う
ポニーとライオン　特別欲張りません

ponii to raion ha ga chigau
ponii to raion tokubetsu yokubarimasen

Ponies and Lions have different teeth
Ponies and Lions don't want anything special

ポニーとライオン　基礎が違う
ポニーとライオン　夜中に襲うと動く

ponii to raion kiso ga chigau
ponii to raion yonaka ni osoou to ugoku

Ponies and Lions have a different purpose
Ponies and Lions hunt and stir at night

ポニーは今日も　 歯が磨く
ポニーとライオン　実際欲張りたいです

ponii ha kyou mo ha ga migaku
ponii to raion jissai yokubaritai desu

Ponies today have shiny teeth
Ponies and Lions are practical creatures

回数券なら基本ルール
二回三回お得ルール
それが一回分も使わずキープ
有効期限切れるしょっちゃう

kaisuuken nara kihon ruuru
nikai san kai otoku ruuru
sore ga ikkaibun mo tsukawazu kippu
yukoukigen kireru shocchau

A book of tickets, has some basic rules
Twice, thrice you profit from the rules
That's the installment even without using the ticket
You should keep in mind their expiration date

ポニーとライオン　胃とか違う
ポニーとライオン　一回対面したいね

ponii to raion i toka chigau
ponii to raion ikkai taimen shitai ne

Ponies and Lions have different stomachs
Ponies and Lions I want to meet them once

オイルが無いときこれクルマ
アンヨが無いときこれクルマ

oiru ga nai toki kore kuruma
aniyo ga nai toki kore kuruma

But my car has no oil right now
My car has no feet right now

-------------------

"Arigatou" {Thank You}
作詞 &作曲: ハヤシヒロユキ
{Lyrics & Composition by Hiroyuki Hayashi}

キミに頑張ってとか言いたくないけどプレゼントをやろう
一生懸命働いてるならプレゼントをやろう
サイズがコンパクトなやつなんかはどう？
キミに文句を言うほど興味は無いけどプレゼントをやろう

kimi ni ganbatte toka iitaku nai kedo purezento wo yarou
isshoukenmei hataraiteru nara purezento wo yarou
saizu ga konpakuto na yatsu nanka ha dou?
kimi ni monku wo iu hodo kyoumi ha nai kedo purezento wo yarou

Even if I never tell you to try your best, I'll give you a present
Whenever you try your hardest I'll give you a present
What size is that girls' compact?
Even if you complain about boring things I'll give you a present

キミに最高級の超似合ったプレゼントをあげよう
一応限度は超えない程度のプレゼントをあげよう
見た目はライトなヤツなんかはどう？
キミに最高級で限定品のプレゼントをあげよう

kimi ni saikoukyuu no chou niatta purezento wo ageyou
ichiou gendo ha koenai teido no purezento wo ageyou
mita me ha raito na yatsu nanka ha dou?
kimi ni saikoukyuu de genteihin no purezento wo ageyou

Even if you're the highest in your class I'll give you a present
Even if you can barely make the grade I'll give you a present
How does that persen see the light?
I'll give you the greatest most ultra rare present ever

そう言ったって夢中で
泣いたって夢中で
キミに最高級での限定品プレゼントをあげよう
そう言いたくて夢中で
買いたくて夢中で
キミに最高級での限定品プレゼントをあげよう

sou ittate muchuu de
naitatte muchuu de
kimi ni saikoukyuu de no genteihin purezento wo ageyou
sou ittakute muchuu de
kaitakute muchuu de
kimi ni saikoukyuu de no genteihin purezento wo ageyou

In a daze like this
Howling like this
I'll give you the greatest most ultra rare present ever
In a daze like this
Howling like this
I'll give you the greatest most ultra rare present ever

ボクにサイズが全然中途半端なプレゼントありがとう
ボクに毎年全然欲しくもならないプレゼントありがとう
全く全然一体どうして
何のつもりだか意味が無い
ボクにサイズが全然中途半端なプレゼントありがとう

boku ni saizu ga zenzen choutohanpa na purezento arigatou
boku ni maitoshi zenzen hoshiku mo nara nai purezento arigatou
mattaku zenzen ittai doushite
dono tsumori da ka imi ga nai
boku ni saizu ga zenzen chuutohanpa purezento arigatou

Thank you for never giving me presents that are half-assed
Thank you for giving me presents each year even if I don't want them
Really you didn't have to
Even for no reason
Thank you for never giving me presents that are half-assed

そう言ったって夢中で
泣いたって夢中で
ボクに最高級で限定品のプレゼントをありがとう
そう言いたくて夢中で
買いたくて夢中で
ボクに最高級で限定品のプレゼントをありがとう

souittate muchuu de
naitatte muchuu de
boku ni saikoukyuu de genteihin no purezento wo arigatou
souittakute muchuu de
kaitakute muchuu de
boku ni saikoukyuu de genteihin purezento wo arigatou

In a daze like this
Howling like this
Thank you for giving me the greatest most ultra rare present ever
In a daze like this
Howling like this
Thank you for giving me the greatest most ultra rare present ever

-------------------

"Iro to Kage" {Colors and Shades}
作詞 & 作曲: ハヤシヒロユキ
{Lyrics & Composition by Hiroyuki Hayashi}

見られない　しょうがない　サッと処分　まぁ困らない
聞かれない　そうじゃない　冷めてきて　愛情がない

mirarenai shouganai satto bun maa komaranai
kikarenai soujanai samete kite aijou ga nai

I can't see, I can't help it, I forgot it fast, oh I don't care
I can't hear, it's not right, calm down, without love

知られない　損がない　やめたとたん　どうしようもない
自分でも　気づかない　多分そう　ハートが無い

shirarenai son ga nai yameta totan doushiyou mo nai
jibun demo kidzukanai tabun sou hatto ga nai

I don't know, no biggie, I've stopped now, no other way
Only myself, I don't worry about, maybe it's true, I got no heart

Give me a fire いい感動したいよ
きちんとしたいな　無い面影
Give me a fire　いい対応したいよ
きちんとしたいな　なぁイロトカゲ

Give me a fire ii kandou shitai yo
kichin to shitai na nai omokage
Give me a fire ii taion shitai yo
kichin to shitai na naa irotokage

Give me a fire I wanna be moved
That's not quite right, its shapeless
Give me a fire I wanna be supported
That's not quite right, colors and shades

しかたない　やるせない　パッと消えた用もない
いられない　そうじゃない　崩れきて　愛嬌もない

shikatanai yarusenai patto kieta you mo nai
irarenai soujanai kuzurekite aikyou mo nai

I can't help it, it's hopeless, it all vanished so now it's useless
I can't do it, it's not right, I'm crumbling, without love

知られない　損がない　やめたとたん　どうしようもない
自分でも　気づかない　多分そう　ハートが無い

shirarenai son ga nai yameta to tan doushiyou mo nai
jibun demo kidzukanai tabun sou hatto ga nai

I don't know, no biggie, I've stopped now, no other way
Only myself, I don't worry about, maybe it's true, I got no heart

Give me a fire いい感動したいよ
きちんとしたいな　無い面影
Give me a fire　いい対応したいよ
きちんとしたいな　なぁイロトカゲ

Give me a fire ii kandou shitai yo
kichin to shitai na nai omokage
Give me a fire ii taion shitai yo
kichin to shitai na naa irotokage

Give me a fire I wanna be moved
That's not quite right, its shapeless
Give me a fire I wanna be supported
That's not quite right, colors and shades

気にしなさんな　いい体操しましょう
皆で整列 　ファイト紅白戦
Give me a fire　いい感動したいよ
きちんとしたいな　なぁイロトカゲ

ki ni shinasan na ii taisou shimashou
minna de seiretsu faito kouhaku ikusa
Give me a fire ii kandou shitai yo
kichin to shitai na naa irotokage

No need to worry let's get physical
Everyone in the front row show your fighting colors
Give me a fire I wanna be moved
That's not quite right, colors and shades

見られない　しょうがない　サッと処分　まぁ困らない
聞かれない　そうじゃない　冷めてきて　愛情がない

mirarenai shouganai satto shoubun maa komaranai
kikarenai soujanai samete kite aijou ga nai

I can't see, I can't help it, it was so sudden, oh I don't care
I can't hear, it's not right, calm down, without love

今でもそういう態度　　気分次第で最高
自分でも理解オート　できる気でまぁしょうがないイエイ

ima demo souiu taido kibunshidai de saikou
jibun demo rikai ooto dekiru ki de maa shou ga nai iei

Even now your behavior is the right kinda mood
I automatically get it, this mood can't be helped, nope

-------------------

"Mind Your Head"
作詞: ハヤシヒロユキ | 作曲: ハヤシヒロユキ、フミ
{Lyrics by Hayashi Hiroyuki | Composition by Hayashi Hiroyuki, Fumi}

さびる　さびる　さびる　海辺にバイク止めてみたりする
走る　走る　走る　飛び出す車に気をつけて
かじる　かじる　かじる　ギターをちょっと食べてみたりする
走る　電気　走る　ピリピリするなら気をつけて

sabiru sabiru sabiru umibe ni baiku yamete mitari suru
hashiru hashiru hashiru tobidasu kuruma ni ki wo tsukete
kajiru kajiru kajiru gitaa wo chotto tabete mitari suru
hashiru denki hashiru piripiri suru nara ki wo tsukete

Rust Rust Rust on the beach my bike seemed to stop
Run Run Run be careful, as you rush around in your car
Crunch Crunch Crunch like the guitar is eating
Run Electricity Run be careful if it's a livewire

Knock it off
What's going on here?
Cut it out!
Don't touch me
話の途中で　Mind your head! Mind your head!

hanashi no tochuu de

in the middle of a chat

浴びる　浴びる　浴びる　社会の光浴びてみたりする
叫ぶ　叫ぶ　叫ぶ　直接見るとき気をつけて

abiru abiru abiru shakai no hikari abite mitari suru
sakebu sakebu sakebu chokusetsu miru toki ki wo tsukete

Bathe Bathe Bathe it's like the people are bathed in light
Scream Scream Scream be careful when you look directly at them

Rock it out
Jump around and let it out
Dance with me
楽しい時でも　Mind your head! Mind your head!

tanoshii toki demo

even in fun times

Go wild, Break out, Watch out
Make it, Happen, Right on　

-------------------

"Digital Coffee"
作詞 & 作曲: ハヤシヒロユキ、フミ
{Lyrics & Composition by Hayashi Hiroyuki, Fumi}

We are right! 記録以上
ラタタラッタタ終日禁煙エアポート
最近のトーテムポール目立つ魅力色
招待状未発表食べたんだでしょ
「効能　I know　虹が出た！」

We are right! kiroku ijou
ratataraatata shuujitsu kinen eapooto
saikin no tootemu pooru medatsu miryoku iro
shoutaijou mihaapyou tabetandadesho
"kounou I know niji ga deta!"

We are right! In minutes
RatataRaatata all day in a non-smoking airport
Totem pole colors stand out glamourously
You haven't invited us to eat yet
"The effect I know a rainbow emerged!"

Shooting Star　高速移動
フラフラフラフラッシュそれいただきます
デジタルコーヒーふーチャテイストドリップ
境界線３つ混ぜたでしょ
象乗って地方出張２億４千万回ターン夢帝国
ドライブスルー経由で本州一周気分
毎回疲れて食べ歩くから頭に残る
「効能　I know 虹が出た！　You know　才能　星を見た！」

Shooting Star kousoku idou
furafurafurafuraashuu sore itadakimasu
dejitaru koopiifoocha teisuto dorippu
kyoukaisen santsu mazetadesho
shou notte chihou shuucchou ni oku yon senban kai taan yume teikoku
doraibu suruu keiyu de honshuu isshuu kibun
maikai tsukarete tabearuku kara atama ni nokoru
"kounou I know niji ga deta! You know sainou hoshi wo mita!"

Shooting Star moving at high speed
Fla fla fla fla flash and then we eat
Digital Coffee Future Taste Drip
And so the 3 bounderies merged
riding the countryside 2 hundred million and 4 turns to the dream empire
I feel like going to the drive through in Honshu
That's what's left in my head from getting tired of eating out everyday
"The effect I know a rainbow emerged! You know talent I saw a star!"

Funny Monday 目が冴えた
Funny Monday 声が出た

Funny Monday me ga saeta
Funny Monday koe ga deta

Funny Monday my eyes cleared
Funny Monday my voice emerged

You are right! 記憶史上
まさかまたかの連日連夜の異常気象
最近のコーラスグループメタル・ラウド仕様
配線上PA表噛んだでしょ
恐怖新聞昨日廃刊こんにゃく畑でlearn枚キャッスル
天然束縛パーマロックンロールfreak
最近フラれて帰ってないから頭に残る
「効能　I know 虹が出た！　You know　才能　星を見た！」

You are right! kioku shijou
masaka mata ka no renjitsurenya no ijoukishou
saikin no koorasu guruupu metaru raudo shiyou
haisen ue PA omote kanda desho
kyoufu shinbun kinou haikan konnyaku hatake de learn mai kyassuru
tennen sokubaku paama rokku n rooru freak
saikin furarete kaetenai kara atama ni nokoru
"kounou I know niji ga deta! You know sainou hoshi wo mita!"

You are right! Memories are historic
It's impossible to have bad weather every day and night
The next chorus group did metal loud
They chewed the surface of the PA wiring
Learn each special page in the konjak of yesterdays dreaded newspaper
Nature shackles the perma rock n' roll freak
That's all that's left in my head because I couldn't get the latest
"The effect I know a rainbow emerged! You know talent I saw a star!"

Funny Monday　目が冴えた
Funny Monday　声が出た
I'm gonna go to dream land　目玉泳がせて
Feel like one is in a dream 　余計目が冴えた

Funny Monday　me ga saeta
Funny Monday　koe ga deta
I'm gonna go to dream land　medama oyogasete
Feel like one is in a dream 　yokei me ga saeta

Funny Monday my eyes cleared
Funny Monday my voice emerged
I'm gonna go to dream land letting my eyeballs swim
Feel like on is in a dream with super clear vision

-------------------

"Boys & Girls"
作詞 & 作曲: ハヤシヒロユキ
{Lyrics & Composition by Hiroyuki Hayashi}

足ガクガク　しまった強制だ
識別されたし　安心だ当然だ
肩ハリハリすぎ　気負った冒険だ
気になる部分が豹変だ！

ashi gakugaku shimatta kyousei da
shikibetsu saretashi anshin da touzen da
kata harihari sugi kioutta bouken da
ki ni naru bubun ga hyoukoi da!

Wobbly legs, tighten them up
While identifying, peace of mind, relax
Shoulders feeling weak, work them out
Whatever's on your mind, it'll all change!

朝マック　しまった朝礼だ
消しゴムさずかり安全だ当然だ
まだバリバリヤリ放題当然だ
胃に穴あくのは当分先さ！

asa makku shimatta chourei da
keshigomu sazukari anzen da touzen da
mada baribari yari houdai touzen da
ni ana aku no ha toubun saki sa!

Mark of morning, a morning pep talk
Erasers as prizes it's safe, of course
Still you're working hard, with your all, of course
All those punches to the gut are behind you!

針サクサク　辛抱だ安全だ
上から下までだ当然だ
肩ハリハリすぎ　気負った冒険だ
気になる辺が　豹変だ！

hari sakusaku shibou da anzen da
ue kara shita made touzen da
kata hari hari sugi kioutta bouken da
ki ni naru hen ga hyoukoi da!

Clumsy needlework, be patient, it's safe
From the top to the bottom, of course
Shoulders feeling weak, work them out
Whatever's on your mind, it'll all change!

まだワクワク当然だ
消したい過去など　当然だ
今だけ欲張れ　当然だ
胃に穴あくのはもう来月さ

mada wakuwaku touzen da
keshitai kako nado touzen da
ima dake yokubare touzen da
i ni ana aku no ha mou raigetsu sa

Still you're excited, of course
Because the past is gone, of course
You only yearn for now, of course
Those punches to the gut will come next month

さぁさぁ今夜キミと歌うこのエレクトリックビートと
タイトなリズムを鳴らせ共に歌うたうのが粋だと思うよ
Boys & Girls
ガンガン行こう　散々しよう　タンツムジークのハードなリズムを
作り共に音浴びるのが　好きだと思うよ
Boys & Girls

saa saa konya kimi to utau kono erekutorikku biito to
taito na rizumu wo narase tomo ni utautau no ga iki da to omou yo
Boys & Girls
gangan ikou sanzan shiyou tantsumujikku no haddo na rizumu wo
tsukuri tomo ni oto abiru no ga suki da to omou yo
Boys & Girls

Come on come on, tonight I'll sing this electric beat with you
We'll feel stylish, sharing the sound of this tight rhythm
Boys & Girls
Raise your voices, awesome now, with the hard rhythmic dance music
Drown in the sound we'll make, I think you'll like it
Boys & Girls

まだワクワク当然だ
消したい過去など　当然だ
今だけ欲張れ　当然だ
胃に穴あくのはもう来月さ

mada wakuwaku touzen da
keshitai kako na do touzen da
ima dake yokubare touzen da
i ni ana aku no ha mou raigetsu sa

Still you're excited, of course
Because the past is gone, of course
You only yearn for now, of course
Those punches to the gut will come next month

さぁさぁ今夜キミと歌うこのエレクトリックビートと
タイトなリズムを鳴らせ共に歌うたうのが粋だと思うよ
Boys & Girls
ガンガン行こう　散々しよう　タンツムジークのハードなリズムを
作り共に音浴びるのが　好きだと思うよ
Boys & Girls
ノイズをロックしてキック別れ打ちハイスピードビートでノーバラード
踊り　叫び　ショックさせるのが一番素敵ね
Boys & Girls

saa saa konya kimi to utau kono erekutorikkubitto to
taito na rizumu wo narase tomo ni utautau no ga iki da to omou to
Boys & Girls
gangan ikou sanzan shiyou tanshimujikku no haddo na rizumu wo
tsukuri tomo ni oto abiru no ga suki da to omou yo
Boys & Girls
noizu wo rokku shite kikku wakare uchi haisupiddo bitto de noobaraado
odori sakebi shokku saseru no ga ichiban suteki ne

Come on come on, tonight I'll sing this electric beat with you
We'll feel stylish, sharing the sound of this tight rhythm
Boys & Girls
Raise your voices, awesome now, with the hard rhythmic dance music
Drown in the sound we'll make, I think you'll like it
Boys & Girls
The noise rocks and kicks farewell, lashing out a highspeed ballad
Dance, scream, shock everyone the best you can

-------------------

"Blue Noise"
作詞: フミ | 作曲: ハヤシヒロユキ、フミ
{Lyrics by Fumi | Composition Hiroyuki Hayashi, Fumi}

Slow Day まだ続く　同じ景色
今日も　気が済まで
Show Day　ドア開けた　騒ぐ夜にオーイェー！
思い出した　高く跳ねて

Slow Day mada tsudzuku onaji keshiki
kyou mo ki ga sumade
Show Day doa aketa sawagu yoru ni ooii!
omoidashita takaku hanete

Slow Day just goes on the same scenery
Today that's just inexcusable
Show Day the door opened, noisy night oi!
I remembered jumping to the sound

遮るメロディー　集めてコード
さっぱり近づくに行く理由もないのに
よくあるセオリー　少し耳に入る
愛想の無いような声で歌うけど

saegiru merodii atsumete koodo
sappari chikadzuku ni iku riyuu mo nai no ni
yoku aru seorii sukoshi mimi ni iru
aisou no nai you na koe de utau kedo

Thumping melody gathering to a chord
For no reason I feel myself getting refreshed
I've got a lot of theories as I listen a bit
but this voice seems to lack any courtesy

OK　今行くよ　かき消すように
当然　晴れた気分のつもりでいくよ

OK ima iku yo kaki kesu you ni
touzen hareta kibun no tsumori de iku yo

OK let's go so we can erase it all
Naturally, to clear up all these feelings

歌うのはメロディー　重なるオクターブ
こっそり音に隠すつもりはないのに
足りないワード　誰か気付いていた
見た事ないようなフリで踊ってる

utau no ha merodii kasanaru okutabbu
kossori oto ni kakusu tsumori ha nai no ni
tarinai waddo dareka kidzuite ita
mita koto nai you na wari de odotteru

The singing is a melody with layered octaves
there isn't even any secretly hidden notes
Someone realized that words aren't enough
we dance pretending we can't see that

ラジオのノイズはエンドレス　すぐ止めて
ずっと前でおぼろげ　夜風も雨も夢
All Day 次に鳴らすよPlay a noise again

rajio no noizu ha endoresu sugu yamete
zutto mae de oboroge yokaze mo ame mo yume
All Day tsugi ni narasu yo Play a noise again

The radio noise is endless, then stops suddenly
right before that, faintly, night winds, rain and dreams
All Day next ring in my ears Play a noise again

誰かのノイズはエンドレス　まだ遠くで
きっと後でつながる　今すぐにほどいていく
All Day 加速するなら　Make a noise again

dareka no noizu ha endoresu mada tooku de
kitto ato de tsunagaru ima sugu ni hodoite iku
All Day kasokusuru nara Make a noise again

Someone's noise is endless, still far away
Still connected though we've become unfastened now
All Day when I take a step Make a noise again

Days それに慣れたら　Play a noise again

Days sore ni naretara Play a noise again

Days if I can get used to them Play a noise again

-------------------

"Dry or Wet"
作詞 & 作曲: ハヤシヒロユキ
{Lyrics & Composition by Hiroyuki Hayashi}

Dry or Wet
息つく暇無い　返事ができない
他人のことには　興味もわかない
Dryな人ほど　愛嬌足りないよ
人情足りないよ

Dry or Wet
ikitsku itomanai henji ga dekinai
tanin no koto ni ha kyoumi mo wakanai
Dry na hito hodo aikyou tarinai yo
ninjou tarinai yo

Dry or Wet
No time to rest, I can't reply
Outsiders don't even care
To the dry people, courtesy is not enough
Sympathy is not enough

一体どちらがいいでしょう
ちなみにあなたはどうでしょう
意外と気になるどうでしょう
そういうあなたはどうでしょう

ittai dochira ga ii deshou
chinami ni anata ha doudeshou
igai to ki ni naru doudeshou
sou iu anata ha doudeshou

Give them panic

So what the heck is enough
According to you what's enough
Something unexpected or expected maybe
Maybe you said something like that

Dry or Wet
いらいらするよな　良い人全開
他人のことには　興味もわかない
wetな人ほど　愛嬌足りないよ
人情足りないよ

Dry or Wet
iraira suru yo na ii hito zenkai
tainin no koto ni ha kyoumi mo wakanai
wet na hito hodo aikyou tarinai yo
ninjou tarinai yo

Dry or Wet
It's irritating me, goody goodies
Outsiders don't even care
To the wet people, courtesy is not enough
Sympathy is not enough

一体どちらがいいでしょう
ちなみにあなたはどうでしょう
意外と気になるどうでしょう
そういうあなたはどうでしょう

ittai dochira ga ii deshou
chinami ni anata ha doudeshou
igai to ki ni naru doudeshou
sou iu anata ha doudeshou

So what the heck is enough
According to you what's enough
Something unexpected or expected maybe
Maybe you said something like that

他人の事はいいでしょう
ちなみにあなたはどうでしょう
嫌いになるのはどうでしょう
本当はどうでもいいでしょう

tanin no koto ha ii deshou
chinami ni anata ha doudeshou
kirai ni naru no ha doudeshou
hontou ha doudemo ii deshou

Give them panic

It's too hard to master human science in the world

It's enough to be an outsider
According to you what's enough
How does one come to be hated
In reality it doesn't really matter

-------------------