Keiongaku Front Cover

Lyric

Zen No Yado

Aftersoul

生殺与奪の権利を与え合って

汚れたシーツの上で清らかに

あの娘と眠る、抱き合ったまま眠る

筆圧ばかりが強度を増して折れた筆と

昨日まで僕を支えてくれた古い帳面に

魔法を掛けておくれよ

二人の恋に願うよ

神様も執行人も今だけはどうか

二人を放って置いて欲しいの

天啓も天命も天罰も無い世界で重ねよう

性衝動の詩的表現

「ゴ」で始まる害虫とゼリー

色々の色とカタストロフィ

場末のラブホテルは今日も平和だよ

神様も執行人も今だけはどうか

二人を放って置いて欲しいの

天啓も天命も天罰も無い世界で重ねよう

性衝動の詩的表現

「ゴ」で始まる害虫とゼリー

色々の色とカタストロフィ

場末のラブホテルは今日も平和だよ

人は人間の匂いが嫌い

春に吹かない春風も嫌い

それでもラブホテルは今日も平和だよ

「ゴ」で始まる害虫とゼリー

色々の色とカタストロフィ

場末のラブホテルは今日も平和だよ

人は人間の匂いが嫌い

春に吹かない春風も嫌い

それでもラブホテルは今日も平和だよ

自堕落が寛解する頃は

気が付いたらいつか一人

それでもラブホテルは今日も平和だよ

生殺与奪の権利を与え合って

汚れたシーツの上で清らかに

あの娘と眠る、

僕達の恋は始まったばかりって話、いぇー

生殺与奪の権利を与え合って

汚れたシーツの上で清らかに

あの娘と眠る、抱き合ったまま眠る

  • 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 Zen No Yado 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

  • 7

    Kotoba No Bouryoku

    Aftersoul

  • 8

    Aventure

    Aftersoul

  • ⚫︎

    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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