THE GRAFFITI MARKET Front Cover

Lyric

Fucking Tiger

DOGO

ファッキンタイガーを

見た事がないなら早く見た方が良いよ

ファッキンタイガーを

見た事がないなら早く見た方が良いよ

椅子に座って

何もしない

ファッキンタイガーを

見た事がないなら

見た事がないなら

見た事がないなら

ヤクザがクリスマスツリーの飾り付けしてるところすみません

ファッキンタイガーってやつを見に来たんですけど

良い子にしてたらいつか

ファッキンタイガーが見れるはずって

おばあちゃんが言ってたから

今日こそは見れるかなって思ってます

コインランドリーには3人の女がいて

全員身長が2メートル以上あった

コインランドリーで何を洗うかはもちろんさ

あんたらの自由だけど

だからと言ってマシンガンを洗ってんじゃねえ

あの猫ちゃんを見に来たんでしょう、

一人の女が言う

あの猫ちゃんを見に来たんでしょう、

あの猫ちゃんを見に来たんでしょう、

あの猫ちゃんを見に来たんでしょう、

あの猫ちゃんを見に来たんでしょう、

あの猫ちゃんを見に来たんでしょう、

あの猫ちゃんはねもう死んじゃって

みんなの心の中にしか居ないのよ。

でもその日俺はファッキンタイガーを見た。

ファッキンタイガーを見た事がないなら

早く見た方が良いよ

ファッキンタイガーを見た事がないなら

早く見た方が良いよ

椅子に座って何もしない

ファッキンタイガーを見た事がないなら

見た事がないなら

見た事がないなら

  • Lyricist

    Takemaro Yokoyama

  • Composer

    Takemaro Yokoyama

  • Mixing Engineer

    Shunsai, Takemaro Yokoyama

  • Mastering Engineer

    Dave Cooley

  • Guitar

    Taro

  • Drums

    Umi Ogimi

  • Vocals

    Takemaro Yokoyama

THE GRAFFITI MARKET Front Cover

Listen to Fucking Tiger 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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