Keiongaku Front Cover

Lyric

Orutana Kun

Aftersoul

未来人の嘲笑するその口臭が僕等の従属する娯楽に降り掛かる

オルタナのオルタナティブ、それを欲しがっている

物質の奴隷はさぞ滑稽だろう

充電の配線を中心線とした直径の中から

拝啓、未だ見ぬ荒廃よ

ハロー、睾丸の暮らしはどう?

砦へは一人で 取り柄はアトリエに

Do you rememberと言えば 忘れかけていた

ドス黒い影、襲来する 確かな殺意を持って

助けてよオルタナくん また軽蔑を掻き鳴らしてよ

曇天と泥濘の中間点に思想をひとつ浮かべる

拝啓、我等の荒廃よ

ところで、あんた今、何中毒?

砦へは一人で 取り柄はアトリエに

Do you rememberと言えば 忘れかけていた

飢えにありついた白眉狂が嗤う 此方から決して届かぬ処で

されど歌え有害図書 正しく歪んだ失敗作達へバラッドを

砦へは一人で 取り柄はアトリエに

Do you rememberと言えば 忘れかけていた

ヘドロを掴んで立ち上がって らけんろーをぶちかまして

厄秒、厄分、厄時間も テレキャスターでぶん殴って

そんな当たり前を忘れかけていた

  • 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 Orutana Kun by Aftersoul

Streaming / Download

  • 1

    Saitei No Futari

    Aftersoul

  • 2

    Goraku

    Aftersoul

  • 3

    Gone Girl

    Aftersoul

  • 4

    Ogensho

    Aftersoul

  • 5

    Utsukushii Ahiru

    Aftersoul

  • ⚫︎

    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.

"