Keiongaku Front Cover

Lyric

Kotoba No Bouryoku

Aftersoul

酩酊武装して郷里を行けば

女装した女の不気味な微笑

販売機の前にゃ初老の赤ら顔が、

鬼さえ死に至る毒を求めている

顔面ライクアモンキー、呪詛を唱えている

くの字に曲がった背骨の男の

疲弊し切った様相で引くリアカーが、

彼の感傷に合わせて鳴いている

言葉の暴力、今夜あんたにバールの様な出来心で振るう

流れ弾に傷を負う人がいるだなんて

武器が凶器である事は大前提

忍耐のジャムの瓶の蓋の裏

あんたそれを舐め過ぎた様だ

こちら因果です、応報に参りました

さぁ、禁句達よ食事の時間だ

アホ死ね虚しく消え失せろ

ボケナス殺すぞ弁えろ

一刀両断に身構えたか無能め

貴様の穢れた返り血など浴びぬ

アホ死ね虚しく消え失せろ

ボケナス殺すぞ弁えろ

今夜あんた言語で凍らせてやる

腐る暇も与えない

六法全書の角で人を殴るのはオッケーみたいな倫理

我々が互いを理解し合う為に

病名の数が世の中には足りていない

人の表はいわば裏の裏

それをあんたに指導だ!指導だ!

思えば俺も嫌な大人になった

童でいいや、童でいいや、ゆーてるまに

アホ死ね虚しく消え失せろ

ボケナス殺すぞ弁えろ

一刀両断に身構えたか無能め

貴様の穢れた返り血など浴びぬ

アホ死ね虚しく消え失せろ

ボケナス殺すぞ弁えろ

今夜あんた言語で凍らせてやる

腐る暇も与えない

言葉の暴力、今夜あんたにバールの様な出来心で振るう

流れ弾に傷を負う人がいるだなんて

武器が凶器である事は大前提

忍耐のジャムの瓶の蓋の裏

あんたそれを舐め過ぎた様だ

こちら因果です、応報に参りました

さぁ、禁句達よ食事の時間だ

アホ死ね虚しく消え失せろ

ボケナス殺すぞ弁えろ

一刀両断に身構えたか無能め

貴様の穢れた返り血など浴びぬ

アホ死ね虚しく消え失せろ

ボケナス殺すぞ弁えろ

今夜あんた言語で凍らせてやる

腐る暇も与えない

思い知ったか言葉の暴力

アホ死ね虚しく消え失せろ

  • 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 Kotoba No Bouryoku by Aftersoul

Streaming / Download

  • 1

    Saitei No Futari

    Aftersoul

  • 2

    Goraku

    Aftersoul

  • 3

    Gone Girl

    Aftersoul

  • 4

    Ogensho

    Aftersoul

  • 5

    Utsukushii Ahiru

    Aftersoul

  • 6

    Orutana Kun

    Aftersoul

  • ⚫︎

    Kotoba No Bouryoku

    Aftersoul

    E
  • 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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