Here's the video for the new Polysics single "Everybody Say No." It's not super exciting, but you have to admit, the 303 traffic cone head thing is pretty awesome. The song is also not super exciting, but as always Fumi manages to bring the heat on bass and make it almost impossibly groovy.
The single is out on October 24th and their new album Weeeeeeeeee!!! is out in December. GET!
Not sure how long this video will last, so enjoy it now!
New Polysics! "Lucky Star" is the first single from what is presumably their next album. The song is a snappy, poppy one along the lines of "Black Out Fall Out" and "You You You." Fumi is no Kayo when it comes to pop vocals, but she has always been able to hold her own and does so here just fine. But I miss Kayo.
Anyway, it's Polysics in a nutshell. Chugging synths, retro blips, odd patterns and pure energetic fun. It's a bit repetitive, a bit shallow on a surface level, but there's plenty to dig into on repeat listens. The CD/DVD version includes what seems to be a full live show. Well worth it!
(via @Mistabeen)
[Update: According to the above mentioned Mistabeen, the DVD is actually a collection of short clips totaling 20 minutes. Bummer!]
When I first heard that Polysics was going to be on the new L'Arc~en~Ciel Tribute album, I was excited. Of course I'm always excited about Polysics. Then I saw the rest of the line-up and, well, I had to triple check.
Listed among a hand-full of other Japanese bands were rather more incongruous names. Names like Michael Monroe (Hanoi Rocks), Eric Martin (Mr. Big) and John 5 (Marilyn Manson) (itself a head-scratching paring), Vince Neil (Mötley Crüe), TLC and, get this, Boyz II Men.
Yep.
If that all sounds a little weird, well, so is the album. I'm not a huge L'Arc fan, but I do like some of their more rockin' songs. This album is not rockin'. In the slightest. It's mostly washed-up has-beens sucking the life out of songs that didn't have much life to spare. For crying out loud, Vince Neil sings the super-saccharine "Blurry Eyes" and not "Shout at the Devil." Sure, it's not the same iconic metal anthem that Crüe rode high on through the '80s, but still it was a giant missed opportunity. (I should also point out that much of this tribute is sung in English. Another jolt to the system.)
Ah well, at least Polysics managed to produce a really heavy, noisy take on "Seventh Heaven," a track otherwise totally out of place in this collection of zombies sluggishly devouring L'Arc's brains.
Listen to more of the carnage below.
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...
I am going to go out on a limb and say that this is a song about shishi.
Named after a famous venue in the UK, The Brixton Academy does not hesitate in making its influences known. TBA is a synth-rock, new-wave band straight from the '80s. Their production has the cold precision of Kraftwerk, their lyrics have the emotional simplicity of Duran Duran and their vocals have the same stoney-faced delivery of Joy Division. Yet they are able to combine all of these elements into a very modern package. Oh, and they sing entirely in English with just the right amount of accent to make them sound even more "European."
The group is first and foremost a living, breathing band. With all the controlled precision they put into their recordings you might be forgiven for thinking that they're simply a couple guys slouching behind stacks of vintage synthesizers. This is not the case. Their live shows are full of energy and action with amps turned up to the melting point and crowds frothing with glee. All of this is backed by lyrics like "I'm so shy, so I can only gaze at you" and "whisper in my ear, your voice is so sexy."
The band has kept their identities rather guarded so far. Perhaps the scenesters in Japan know who they are, but to the rest of the world TBA still retains an exotic, yet oddly familiar, mystery. The same mystery that all of those one-hit-wonders from the '80s had who came from around the world to gather on Top 40 stations everywhere. The one major difference is the with The Brixton Academy we have a band that's one lucky step away from a very long career indeed.
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
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!"
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.
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.
It's always a bit difficult to summarize the work of someone who has been tirelessly active over a thirty year music career. Being a social and political activist, as well as being highly influential to a generation of new musicians (ie Polysics), Susumu Hirasawa is no easy nut to crack.
First, a step back. In 1979 he formed the new-wave band P-Model. Very much in the style of fellow contemporaries Devo and The Plastics, P-Model was an arty spazz rock group that combined blippy synths with janky guitars and kooky vocal deliveries. They lasted twenty years, releasing a slew of albums and churning though a huge list of band members, all with Hirasawa it its core.
After finally breaking up in 1999, Hirasawa continued to make music under his own name. By then, P-Model had morphed into a much more straight forward electronic outfit, and Hirasawa picked up right where they left off. His own music is closer to traditional new-age, but with a much tougher edge. While much of it is indeed atmospheric and soft, the rest is frenetic and pulsing, trance-like yet retaining Hirasawa's very strong sense of melody. He also seems to have a fondness for marching-band percussive styles and very grand presentations. His vocal style is equally eclectic, being a mix of traditional Japanese folk, a bit of yodeling and downright operatic deliveries. The music is totally electronic, yet very organic and lushly layered at all times. His dreamlike cyber landscapes seem to be either populated by bustling mega-cities, Eden-like gardens devoid of humanity, or some sort of idyllic hybrid.
His live performances are perhaps what one would expect from such a natural eccentric. Most consist of only himself playing various keyboards and guitars alongside seemingly homemade musical constructs, more art and sculpture than recognizable instruments. He also occasionally allows the audience to add to the performance, triggering sounds through various actions. He has even played shows powered entirely by the Sun. His willingness and desire to reach out to his audience also shows through in his activism. Much of his work touches on events in Tibet and, more recently, the events of 911 and the resulting actions taken around the world.
Most recently his name gained a boost due to his music being used in the animated film Paprika. The film's universal acclaim was due in part to Hirasawa's mesmerizing soundtrack, culled in great part from his 1996 album Byakkoya. At 55 years old, Susumu Hirasawa seems to be hitting yet another new stage in his prolific and colorful career. Let's all hope he continues to find the inspiration and energy to keep the machines running for many more years to come.
May 22-Jun12
Levelload
UK Gigs
May 22 2009 - UK Liverpool Sound City @ Bumper - Liverpool, Northwest
May 23 2009 - UK London Meat Raffle at Catch - Shoreditch
May 26 2009 - UK London Cool For Cats SINGLE LAUNCH at Old Blue Last - Shoreditch, London and South East
May 30 2009 - UK Brighton Moshi Moshi open-air festival - Brighton
Jun 12 2009 - UK Bangers and Mash at Proud Gallery - London
Source: MySpace
Take the White Stripes, rip out the dead albatross and jam an angry black box into the hole. Add one post-punk Debbie Harry. Blend at 11 until your ears bleed. Serve Levelload hot.
One half Tokyo and the other half London, the duo that is Levelload combine and collaborate to bring a mash-up of various styles to their music. Tony Wade's no-nonsense guitar sound is a little classic new-wave while at the same time bringing in plenty of gritty, no-frills rock and roll. Mariko Doi's bass playing is the perfect match, and her up-front and confrontational vocal style also reinforces their overall in-your-face vibe. There's also plenty of electronic reinforcement, but this is no armchair trainspotting perfection. Instead, the drum machines and saw-waves seem to come from the Digital Hardcore school where "Riot sounds produce riots." While not exactly that raw, they don't seem to spend too much time fussing over the finer points.
The band spends equal time touring both Japan and the UK. Their current Flightpath Records label is based in Japan, yet they got their start on none other than the venerable Peel show in the UK. This duality of origin shows through in their music as well. Mariko's vocals are accented enough to add a unique flavor to her otherwise all English lyrics. The music mixes up electro-clash with distorted swamp-rock guitar. The band itself seems to be just as serious as they are tongue-in-cheek (see the video for "Yellow Fever" below), never taking themselves too seriously. The end result is indeed some seriously solid new-rock-electo-wave fun.
Budo Grape's newest release Five Hits & Dust is a mix of ups and downs, both literally and figuratively. The EP flip-flops between up-tempo and dreamy tracks, all with the band's stripped-down, surf/new-wave/pop pallet in the forefront. Apparently this no-frills approach is in response to the reactions they got in their various lives shows in the US. Indeed, it is a very live sounding album, almost to the piont of being downright stark. Luckily, the band's playful attitude saves it from being too sonically dire.
It opens up with the groovy “Otome no Price.” The disco/dance vibe was definitely on the band's mind when recording this album, “Price” sets the stage well. It's a fail-safe floor mover. “Otome Kaikisen” shifts down to a lower gear. It's a funky, dreamy tune with some disco guitar and bass action and a toy-like synth live. “Rush Hour” might be closer to what one would expect from the band's previous offering. It's just as stripped down as the rest, but it's decidedly more upbeat and sing-song like, what with its “doki, doki” chorus. It's certainly the most new-wave-ish song on the EP. “Hore Hore” is another dip into slow and dreamy territory, this time less funk and more soft reflection. It still retains the both child and toy-like feel. Once again, “Doki Doki Wireless Life” jumps back up into a ska shuffle and has a Polysics-like break in the middle featuring a screeching synth solo.
That ends the album proper, but it's not over yet. The band has also included two older demos from 2001. “Three Rotation Kiss” and “Penki Nuritate No. 1” have all the hallmarks one might expect from previously unreleased demos from a band's early days. Namely sketchy production, interesting experimentation and some shaky performances. The former seems to be centered around the repeated “Friday night” chant, and the keyboard on the latter are a bit too clumsy to have the same kitsch value it provided on their newer work. That's not to say that either of the songs are bad, they're just rough. Yet they do show the primordial churnings of what the band would later coalesce into.
You can check out clips from each song over at JapanFiles.com, which is also where you can buy it! Grab it now so you're ready to sing along the next time the band hits your town. Oh, and you can also get the bands massive 192 page photo book full of performance photos and a couple English interviews.
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.
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
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