Keiongaku Front Cover

Lyric

Goraku

Aftersoul

恋する二人はチンパンジー 賢く毛がないチンパンジー

どれだけ娯楽で埋め尽くされていようと孤独が埋められない

新幹線では近過ぎる だけど歩くには遠過ぎる

嗚呼だから鈍行列車に乗って君に会いに行く

インターネットじゃ速すぎる でも伝書鳩じゃ遅すぎる

嗚呼だから人は恋の詩を歌うのさ

空き地のタンポポじゃ軽過ぎる だけども指輪じゃ重過ぎる

嗚呼だから人は恋の詩を歌うのさ

君が今朝見た悪夢の中に 日々惑わせる心配事に

意味を和らげる果実酒の中に 落書きしたいアイ・ミス・ユー

きっと僕らうまくやれる

恋するチンパンジー、間抜けで気高いチンパンジー

嗚呼二人は正反対、でも共通点はあるよ

言葉を考え過ぎてしまうそのせいで会話が成り立たない

好きな音楽はビートルズ、好きな季節は春と秋

黒子の位置まで同じ二人なのに擦れ違って行く

君が今朝見た悪夢の中に 日々惑わせる心配事に

意味を和らげる果実酒の中に 落書きしたいアイ・ミス・ユー

きっと僕らうまくやれる

恋するチンパンジー、間抜けで気高いチンパンジー

恋する二人はチンパンジー 賢く毛がないチンパンジー

どれだけ娯楽で埋め尽くされていようと孤独が埋められない

  • 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 Goraku by Aftersoul

Streaming / Download

  • 1

    Saitei No Futari

    Aftersoul

  • ⚫︎

    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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