Keiongaku Front Cover

Lyric

Saitei No Futari

Aftersoul

あの娘は薔薇さえ羨む様な、美しい虚っぽの花瓶

悪夢しか愛せない僕だから力なく掃き溜め舐める様に恋に堕ちる

僕は孤独さえも見放す様な、やかましい枯れた造花

素面じゃいられない夜の街、グロテスクよあの娘の身体に触るな

今度会ったらおぞましい場所へ行こう

そこで牧歌に擬態して飲み明かそう

でも、すぐ戻れる場所に行こう

愛なんて変態共にくれちまおう

御通行中の皆様、史上最低の二人が通ります

祝福してくださいな

悪夢しか愛せない二人の為、どうか、どうか、どうか

あの娘の膝元で踞るブルース 寝汗を交えたあの夜の備忘録を果たせメロディ

哀しい奇跡と、その行き止まりに 本当の事しか話せない 嘘つき二人の為のメロディ

今度会ったらおぞましい場所へ行こう

牧歌に擬態して笑うあの娘が好き

もう、戻れない場所へ行こう

変態共に紛れ愛し合おう

御通行中の皆様、史上最低の二人が通ります

祝福してくださいな

悪夢しか愛せない二人の為、どうか、どうか

あの娘は薔薇さえ羨む様な、美しい虚っぽの花瓶

悪夢しか愛せない僕だから力なく掃き溜め舐める様に恋に堕ちたよ、本当さ

  • Lyricist

    Yamada Ryoichi

  • Composer

    Yamada Ryoichi

  • Producer

    Aftersoul

  • Guitar

    Yamada Ryoichi, Tanaka Kohei

  • Bass Guitar

    shimizuyu

  • Drums

    NIKIDRUM

  • Vocals

    Yamada Ryoichi

Keiongaku Front Cover

Listen to Saitei No Futari by Aftersoul

Streaming / Download

  • ⚫︎

    Saitei No Futari

    Aftersoul

  • 2

    Goraku

    Aftersoul

  • 3

    Gone Girl

    Aftersoul

  • 4

    Ogensho

    Aftersoul

  • 5

    Utsukushii Ahiru

    Aftersoul

  • 6

    Orutana Kun

    Aftersoul

  • 7

    Kotoba No Bouryoku

    Aftersoul

  • 8

    Aventure

    Aftersoul

  • 9

    Zen No Yado

    Aftersoul

The first full-length album released under the name After Soul, following the change from "Ryoichi Yamada and After Soul" to "After Soul."
The album features the first official recordings of songs that have long brought the band's live shows to life, including "Goraku," which sings of the loneliness that entertainment can never quite fill, no matter how completely it surrounds us, as well as the yearning of falling in love and the frustrations of love itself; "Orutana Kun," which cries out over a direct, driving bass riff with all the conviction and affection that come with embracing an alternative identity; "Zen no Yado," which reveals the happiness shared by two lovers alone, fraught with contradictions and shadowed by its own fragility; "Kotoba no Bouryoku," which hurls words at those who run their mouths from the sidelines, as if to say, "I've finally had enough"-"You idiots, die, and vanish into emptiness"; and "Ogensho," whose seemingly opposing sounds and lyrics poignantly capture the perspective of a protagonist watching a radiant couple from the sidelines.
The album also includes new recordings, with the current lineup, of songs that have become live staples. Among them are "Aventure," whose lyrics may initially seem to depict a fleeting affair, yet reveal a multitude of themes the deeper one reads, offering a richness of language that resists any single interpretation; "Gone Girl," which weaves words around a distinctive pentatonic refrain, evoking a mysterious girl who is no longer here, with a deft interplay of language and sound; and "Saitei no Futari," in which the desire to proclaim a modest, tender love to the world-even if society might consider it the lowest of the low-is sung over a guitar sound that is both direct and razor-edged.
Catchy throughout, yet intricately crafted in every respect, from its words and melodies to its arrangements, this is a landmark work in Japanese rock.

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