Keiongaku Front Cover

Lyric

Ogensho

Aftersoul

信号待ちの刹那 口吻交わす御両人

信号は春の色 容赦なく鳴らすクラクション

型落ちのアイドルみたいなあの娘を僕も捕まえたい

ユーモアの無さそうな彼氏みたいに振る舞えば良いのか考え中

車の中では誰もが汚言症

僕は二人の恋のNPC ポリゴン細工の劣等感

今日でお別れじゃあるまいし

さっさと唇離して視界からご退場願いたいの

こんな狭い歩道で相合傘の御両人

夕立はもう去ったよ 世界は二人のアトラクション

お手々繋ぎ行く彼氏は左手「恋人は右手」

その点、独りぼっちの僕と大して変わらないさと考え中

心の中で、優しさ尚減少

街のノイズも恋のBGM よちよち歩きの巡礼者

割り込む程野暮はできまいし

さっさと掌離して都会からご退場願いたいの

人は振り出しに戻され酔い痴れる

恋の稲妻 神の悪戯 ああ゙ーーーー

人は誰かの恋のNPC ポリゴン細工の劣等感

今日でお別れじゃあるまいし

さっさと唇離して視界からご退場願いたいの

信号待ちの刹那 口吻交わす御両人

  • 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 Ogensho by Aftersoul

Streaming / Download

  • 1

    Saitei No Futari

    Aftersoul

  • 2

    Goraku

    Aftersoul

  • 3

    Gone Girl

    Aftersoul

  • ⚫︎

    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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