THE GRAFFITI MARKET Front Cover

Lyric

Back to the Future!

DOGO

タイムマシーンで

自分そっくりの奴が迎えに来る。

同じ身長で、同じ香水で。

助手席には喋らない犬が乗っていて、

長い毛が席をびしょびしょにしてる。

「喋らないんだったらさ、捨てちゃえばいいのに」

灰皿にはガムが捨ててある、捨ててある。

タイムマシーンでスローバラード

タイムマシーンでスローバラード

タイムマシーンでスローバラード

タイムマシーンでスローバラード

最悪の気分で

ラジオをつけて目を閉じようとした

ストリートファイターとの思い出とか、

ゲームセンターでとったあの金魚の置物とか

タイムマシーンは

自分そっくりのやつが運転してる。

タイムマシーンは

時速3000キロで加速してる。

タイムマシーンは

自分そっくりの奴が運転してる。

タイムマシーンは

灰皿にガムが捨ててある。

タイムマシーンでスローバラード

タイムマシーンでスローバラード

タイムマシーンでスローバラード

タイムマシーンでスローバラード

  • Lyricist

    Takemaro Yokoyama

  • Composer

    Takemaro Yokoyama

  • Mixing Engineer

    Shunsai, Takemaro Yokoyama

  • Mastering Engineer

    Dave Cooley

  • Vocals

    Takemaro Yokoyama

THE GRAFFITI MARKET Front Cover

Listen to Back to the Future! by DOGO

Streaming / Download

This is the "debut" full-studio album by DOGO, a Tokyo-based rock band that gained attention for their performance on the Rookie A Go-Go stage at FUJI ROCK FESTIVAL 2025 and for their REIMEI SESSION audiovisual release.
In this work, frontman Takemaro Yokoyama's current songwriting ability blossoms into something that can be described as minimal outsider music or noise rock. Below are his self-written liner notes.

"The Graffiti Market" is a one-panel comic I invented:
A piece of graffiti someone scribbled on a wall is unearthed 100 years later and ends up being analyzed and traded for high prices in major city galleries.
The "graffiti" here refers to quick sketches or scrawls made simply to prove existence. They go unnoticed at the time they're made-but I believe they will inevitably gain meaning someday. That belief is what drove me to create these songs without overthinking.

Musical Concept:
1. Minimal Outsider
2. Music that can be performed by a band

1. Minimal Outsider
I followed my intuition on the day of recording. I wrote songs using just a notebook and pen, based on broad outlines and rough images of instrument arrangements. The specific phrases, lengths, and time signatures were decided on the spot, according to the mood of the day.
I'm tired of typical outsider art. So, I edited the recordings aggressively-cutting out parts I didn't like, looping the ones I did.
Multitrack recording was essential for this process (so I could loop phrases by instrument). That's why I didn't use any single-take sessions; instead, I recorded everything through layered takes at Studio NOAH.

2. Music Performable by a Band
Being a band is, in a way, a big constraint-and that's what made creating these songs so much fun.
The original core was four elements: drums, bass, guitar, and voice.
To this, I added another "part": a boy with zero musical ability.
All the programmed bongos, the 2-second guitar lick that only plays in the left channel, the heavily processed chorus vocals-those all fall under that "boy" part.
I brought in a band member specifically to be in charge of everything except drums, bass, guitar, and voice.
That "+1" allowed me to justify these additional elements as part of the band itself.

Artist Profile

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