Saturday, August 8, 2015

Nemurigami -HYPNOS-

Lyrics: Jojo Music: Andy
From SUCCUBUS


Transcription: Ku
眠神-HYPNOS-

夢が泡に為り消えて逝く 永遠の眠りを与えましょう
夢が泡に為り溶けて逝く 永遠の眠りを与えましょう

三日月が星を喰う夜は土耳古に銃声が響くの 湯気の所為で視界が曇り泡に塗れ踊り狂うの
漏れる声が愛惜し過ぎてアレを舌先で転がすの 幸福が憎悪に変わるの

貴方の背中に爪痕を残して愛情を押し殺すの 天國へ誘うの
貴方に跨り腰を振り乱して愛情を噛み殺すの 天國へ導くの

夢が泡に為り消えて逝く 永遠の眠りを与えましょう

三日月が星を喰う夜は土耳古に銃声が響くの 愛情の言葉が贋物でも裸休の侭で愛し合うの
馬鹿な女と罵倒されても身体を売り銭を稼ぐの 幸福が憎悪に変わるの

貴方の背中に爪痕を残して愛情を押し殺すの 天國へ誘うの
貴方に跨り腰を振り乱して愛情を噛み殺すの 天國へ導くの

浴槽に捨てた亡骸を眺めて愛情を喰い殺すの 地獄へ誘うの
最悪の結末を告げた銃声で愛情を喰い殺すの 地獄へ誘うの

夢が泡に為り消えて逝く 永遠の眠りを与えましょう
夢が泡に為り溶けて逝く 永遠の眠りを与えましょう
Romanization: Ku
Nemurigami -HYPNOS-

Yume ga awa ni nari kiete yuku towa no nemuri wo ataemashou
Yume ga awa ni nari tokete yuku towa no nemuri wo ataemashou

Mikazuki ga hoshi wo kuu yoru wa toruko ni juusei ga hibiku no yuge no sei de shikai ga kumori awa ni mamire odori kuruu no
Moreru koe ga itoshi sugite are wo shitasaki de korogasu no shiawase ga nikushimi ni kawaru no

Anata no senaka ni tsumeato wo nokoshite ai wo oshikorosu no tengoku e izanau no
Anata ni matagari koshi wo furimidashite ai wo kami korosu no tengoku e michibiku no

Yume ga awa ni nari kiete yuku towa no nemuri wo ataemashou

Mikazuki ga hoshi wo kuu yoru wa toruko ni juusei ga hibiku no ai no kotoba ga nisemono de mo hadaka no mama de aishiau no
Baka na suke to batou sarete mo karada wo uri zeni wo kasegu no shiawase ga nikushimi ni kawaru no

Anata no senaka ni tsumeato wo nokoshite ai wo oshikorosu no tengoku e izanau no
Anata ni matagari koshi wo furimidashite ai wo kami korosu no tengoku e michibiku no

Yokusou ni suteta nakigara wo nagamete ai wo kui korosu no jigoku e izanau no
Saiaku no ketsumatsu wo tsuketa juusei de ai wo kui korosu no jigoku e michibiku no

Yume ga awa ni nari kiete yuku towa no nemuri wo ataemashou
Yume ga awa ni nari tokete yuku towa no nemuri wo ataemashou
Translation: Ku
God of Sleep -HYPNOS-

Dreams turn to bubbles, disappear, and die1 I shall grant you eternal sleep
Dreams turn to bubbles, melt, and dieく I shall grant you eternal sleep

A gunshot rings out in Turkey on a night when the crescent moon devours the stars The view is clouded by vapor and painted in bubbles, I dance in ecstasy
Loving your restrained voice, I swirl the tip of my tongue around it2 Happiness changes to hatred

I'll crush love to death, leaving nail marks on your back I beckon you to heaven
I'll bite love to death, straddling you and rocking my hips I'll guide you to heaven

Dreams turn to bubbles, disappear, and die I shall grant you eternal sleep

A gunshot rings out in Turkey on a night when the crescent moon devours the stars We'll love each other naked even if our words of love are fake
Even if I'm degraded as a stupid broad I'll sell my body and earn some coins Happiness changes to hatred

I'll crush love to death, leaving nail marks on your back I beckon you to heaven
I'll bite love to death, straddling you and rocking my hips I'll guide you to heaven

I'll crush love to death, gazing at the discarded human remains in the bathtub I beckon you to hell
I'll bite love to death, with a gunshot heralding the worst ending I beckon you to hell

Dreams turn to bubbles, disappear, and die I shall grant you eternal sleep
Dreams turn to bubbles, melt, and die I shall grant you eternal sleep



1 The verb pattern here is something Jojo has been using a lot in lyrics lately. The Japanese phrasing he uses would normally be used for a verb that has happened and is still in progress. However, he's used a select kanji in here where kanji should not be used, and though the reading is the same, the meaning is "to die." It's a bit of a double entendre, and we've tried to reflect that in English.

2 Exactly what it sounds like.

SUCCUBUS

Lyrics: Jojo Music: Kaede
From SUCCUBUS
From DIAVOLO (Type 1 @ CDJapan | Type 2 @ CDJapan)


Transcription: Ku
SUCCUBUS
(夢魔-SUCCUBUS-)

アギダ・メタ・メガ・メタ・アンブリダ

夢の死骸が虹灯に群がる新宿租界で『恋』の呪文を唱えましょう

社交場の扉を開けた世界は大麻の煙と悪魔に廻される発情した女共が尻を並べ微笑む

悪魔に賄賂を贈り『愛してよ』と色仕掛けするの
貴方に触れる女に嫉妬を抱き殺意に狂うわ 嬲り殺しましょう

夢の死骸が無様に転がる新宿租界で『恋』の呪文を唱えましょう

逆様に描いた七芒星に邪教の祈祷を捧げて夢を喰う悪魔が狡猾な女共を喰らい散らかす

悪魔に賄賂を贈り『殺してよ』と御強請りするの
貴方に触れる女に嫉妬を抱き殺意に狂うわ 呪い殺しましょう

『恋』の呪文を唱えましょう

アギダ・メタ・メガ・メタ・アンブリダ
Romanization: Ku
SUCCUBUS
(Muma -SUCCUBUS-)

Agida ・ meta ・ mega ・ meta ・ anburida

Yume no shigai ga neon ni muregaru shinjuku sokai de "koi" no jumon wo tonaemashou

Kyabare no tobira wo aketa sekai wa taima no kemuri to akuma ni mawasareru hatsujou shita onna tomo ga shiri wo narabe hohoemu

Akuma ni wairo wo okuri "ai shite yo" to irojikake suru no
Anata ni fureru onna ni shitto wo daki satsui ni kuruu wa naburi koroshimashou

Yume no shigai ga buzama ni korogaru shinjuku sokai de "koi" no jumon wo tonaemashou

Sakasama ni egaita shichibousei ni jakyou no inori wo sasagete yume wo kurau akuma ga koukatsu na onna tomo wo kurai chirakasu

Akuma ni wairo wo okuri "koroshite yo" to onedari suru no
Anata ni fureru onna ni shitto wo daki satsui ni kuruu wa noroi koroshimashou

"Koi" no jumon wo tonaemashou

Agida ・ meta ・ mega ・ meta ・ anburida
Translation: Ku
SUCCUBUS
(Dream Demon -SUCCUBUS-)

Agida meta mega meta unbrida1

Carcasses of dreams flock together in neon lights; let's chant "love" spells at a concession2 in Shinjuku

The world inside when the door to a social spot is opened: the women in heat, turned to demons with cannabis smoke, present their posteriors and smile

I give a demon a bribe and seduce her to "Love me"
You embrace envy in the woman you've touched and go mad with murderous intent Let's torture them to death

Carcasses of dreams tumble awkwardly; let's chant "love" spells at a concession in Shinjuku

Sending up a prayer to a reverse septagram, dream-eating demons messily devour cunning women

I give the demon a bribe and ask her to "Kill me"
You embrace envy in the woman you've touched and go mad with murderous intent Let's curse them to die

Let's chant "love" spells

Agida meta mega meta unbrida



This was a tough translation and we may revise parts of it.

1 This "magic spell" does not appear to be derived from Western language. As far as we can tell, its origin is Japan, though it's supposed to sound like a spell-casting language (or, perhaps Latin?). This phrase doesn't seem to be something in common use at all, and the only "source" we can find is a Japanese adult-fiction short novel called "Inma Incubus" ... It looks like Jojo's been doing some reading. In the novella, the demon uses these words as part of a spell to bind his victim's voice.

2 In other words, "settlement," of the colonial kind. However, the word Jojo's used here is specific to concessions in China, territories run by foreign governments. Further reading. This word choice doesn't seem to play a significant role in the story of the song, though; either Jojo's referring to red light establishments staffed with foreign Asian women (which is certainly possible given the themes of some of their songs), or he just used the word for shock value.

Saturday, August 1, 2015

Personal Interview - Jojo - ZEAL LINK Free Paper vol.023

THE GALLO Jojo, Vocals
Interview by Takayuki Murakami
Translated by Ku

―A little time has passed since the release of your new single, "INCUBUS." Now, looking at it again, how do you feel it is as a work?
Jojo: "INCUBUS" is a work that was made with a theme of returning to the start, and I think it turned out like that. When played at lives, too, the title track, "INCUBUS," is that way for sure. At lives, we incorporate a performance that uses plates and spoons. That included, now I'm able to present the things that I'd wanted to do since I formed THE GALLO. The fan's response is good, too, and it's become a song that's crucial to THE GALLO.

―A return to the start is right. Speaking of that, could you tell us about your musical background?
Jojo: When I was a kid I always played soccer. I liked soccer so much that I thought I might like to go to the UK in the future. But, when I was 15 I suffered a setback. That's when I found music, and headed down the road of delinquency (laugh). At the time I really liked Kiyoharu-san and I had his posters and clippings up in my room. I really liked him; he's someone who hugely influenced me, and even now I'm grateful. If not for him I feel like I probably wouldn't be in music.

―So he's someone who guided your life. There are a lot of people who start to learn guitar when they're awakened to rock music, but were you a vocalist from the beginning?
Jojo: I had no skill, and in those days I didn't feel like I wanted to play an instrument. I thought I definitely wouldn't be able to do it. With singing, my mother's hobby was singing and my grandmother also liked to sing. Since I was raised in that kind of environment I naturally felt like I'd sing, too.

―Coming into music from that, how did you create your own style?
Jojo: I'm a contrarian. The reason for that was in my environment as a kid. My household has a lineage in jobs related to civil engineering, which started with my great grandfather's generation. So from the time I was born I was raised as the fourth generation, and I couldn't help but dislike it. No matter what I just couldn't adopt the idea of walking the path a parent chose for me. Besides, my grandfather was a general contractor, so he drove a nice car, and even though my school was super close he'd drive me. When he did, the teachers would say things like "he came to school in a Benz..." I really hated that, too. From the rebellious spirit I had towards my family, I started thinking I wanted to walk my own path in life, and I just kept moving forward from there, and started thinking I had to be different from everyone else. This is also reflected in my music, and I think it's naturally established my individuality.

―As a listener, were you also the type who looked for things that no one else listened to?
Jojo: I feel like I had an attitude of wanting to go different places than other people. I started with Kiyoharu-san and rushed into punk. Western punk, like the Sex Pistols and Rancid. When I was in high school I saw the Sex Pistols' movie, "The Great Rock 'n' Roll Swindle," it had an impact on me, and I thought 'this is all there is.' I felt that music and fashion and piercings are all symbols of rebellion. After that, I studied punk music from the '70s to modern.

―So you were drawn to the rebellious mentality of punk music. In addition to musicianship, the gloomy and grotesque have become characteristic of your lyrics, too.
Jojo: That's also rebellion, absolutely. When I started writing lyrics, thought they should make people uncomfortable, that they should be rejected by people. So when I started writing, I was harsher than I am now. I have a feeling it wasn't on a level to draw people in. Regarding the worldview of my lyrics, I often hear that there are hints of books or movies in them, but I don't watch movies or TV or look at books. Since there's no environment where my surroundings inspire me, I don't even know where the scenes I conjure in my lyrics come from. I think that's just typical of me, but I've been alone since I was little. I was raised by a single mother, but she was never at home. There was that, and my grandfather would give me anything I wanted. So I earnestly liked playing with my toys by myself. It was only through that that I could forget my loneliness. And so I was always considering how to play alone, and about what kinds of worlds to create. That was the kind of kid I was, so I think I'm better than most people at creating my own worlds. I have the feeling that that's reflected in the lyrics I write.

―So you had a strong imagination. But aren't your recent lyrics surprisingly poppy, even with a gloomy worldview?
Jojo: Because even I grew up (laugh). The foundation is the same as in the past, but lately you could say I want my cues to be more easily understood. What should I say... From my point of view, almost all the lyrics out there look like nothing more than stiff, formal writing. I think that those that can be called brilliant are few and far between. When it comes to competing with them as a lyricist, your cues have to be easy to understand. Now, I'm groping for how to express my own worlds.

―Like being in the process of changing and still preserving the core. The new single, "SUCCUBUS," will be released on August 8th; what kind of work will it be?
Jojo: When we made the previous work, "INCUBUS," I chose the theme of a male dream demon, so I was thinking for the next one I'd portray a female dream demon. We'd decided at that point to put out a live house limited release, so I thought it'd be fun to have continuity. There isn't an INCUBUS and a SUCCUBUS, but they're both the same. To men, it manifests as SUCCUBUS, and to women, it manifests as INCUBUS. So, I'd wanted to make a paired work. When I was looking for something that could compete with "INCUBUS" in the existing track, I listened to the original melody that Kaede-kun made, and thought that that was it. "SUCCUBUS" came from that and then took shape.

―The chorus with its decadent, super high-speed beat and instrument parts are impressive. Coupled with it are two songs: the heavy "Shinigami -THANATOS-" and the exotically impressive "Nemurigami -HYPNOS-."
Jojo: "Shinigami -THANATOS-" is a song that was on the "Kokkeiron" album that we put out before. The guitar played on the album was before Wajow-kun joined the band. So even though we'll run out of stock [of the album] soon, we weren't thinking about making another pressing. So then we decided to re-record "Shinigami -THANATOS-" with the current members. But, I've rewritten the lyrics. At first I thought it'd be best to leave the original lyrics, but after looking really, really closely, I started feeling like I couldn't stomach it. I don't know what the other members think, but I think that just leaving it as it was before for a re-recording is no good. So I decided to rewrite it. I really touched it up, and this time the "Shinigami -THANATOS-" in me is complete.

―I get the impression that you're picky about lyrics.
Jojo: I am. But I've also been getting tired of it, including with "Nemurigami -HYPNOS-." It's like... somehow it's always about killing people (laugh). I have a feeling this kind of thing's a little unusual. I hear that my specialty is flow that I've had up through now, and both "SUCCUBUS" and "Shinigami -THANATOS-" are more relaxed in that regard, I think. I get the impression it's good now.

―Again, there's an indication that you're going to a different place. What kind of tour can we expect from THE GALLO's six metropolitan tour, "THE INCUBUS CIRCUS," which will carry out "SUCCUBUS?"
Jojo: It's based on the word "challenge." When there are a lot of lives, it's really hard to to create something myself that feels special. But I don't think that's good. First of all, it's no good to think things like "today's not a one-man so it's okay not to push it," or "it's not a one-man so it's okay to go to bed late the day before." It may be a one-man, or it may be a live with other bands, but more than just standing on stage I want to make the time special for myself. It's impossible to make the fans feel that way if I don't first think it's special, myself. I consider how I can put that into practice on a regular basis, and since I try different things, every live I reflect on different things as a participant, too. So for this summer tour it's not that it's because they're one-mans, but it's about the challenge of making each and every live something special. Aside from that, I'm taking on everything, like thinking of the people coming to see us, the content of the lives, and that we're having one-mans in places for the first time.

―We have high hopes. After the tour on September 12th, there will also be an in-store event at Shibuya ZEAL LINK.
Jojo: We're all talking about the in-store event, too. Since the in-store for "SUCCUBUS" in September will only happen once, we want to make it a special day. At the "INCUBUS" in-store, I got to sing in a space for acoustic lives. I don't know if I'll sing again in September, but I'd like to do something that surprises everyone.