먼봉휴요송 (‘The Four Cats Theme Song’) | MaC Main Theme
Lyrics:
먼지, 봉지, 휴지, 요지~
(Monji, Bongji, Hyuji, Yoji~)
푸근한 먼지 다정하지
pugeunhan monji dajunghaji
(Cuddlesome Monji, what a kind cat)
어쩌면 봉진 사람일지도 몰라
ujjeomyun bongjin saram-iljido mola
(Could it be Bongji’s a real human being?)
휴지는 흰 양말 신고 쭈굴쭈굴
hyujineun heuin yangmal singo zzhugulzzhugul
(Hyuji’s a scaredy-cat wearing white socks)
요지는 사실 다 자란 거랍니다
yojineun sashil da jaran georapnida
(Did you know Yoji’s actually all grown up?)
메주네 네마리 냥이
mejune nemari nyangi
(Mejoo has four loving kitties:)
먼/봉/휴/요
(Mon/Bong/Hyu/Yo)
메주와 쁘지
meju wa ppuji
(Mejoo and Soo and:)
먼지, 봉지, 휴지, 요지~
(Monji, Bongji, Hyuji, Yoji~)
냥덕이라면 이리 와요
nyangduk-iramyun iriwayo
(If you’re a cat fan, hang out with us)
같이 빠지자 고양이 매력으로
gatchi ppajija goyang-i meryuk-euro
(We’ll show you just how charming these four can be)
사계절 내내 행복할 거야
sagyejul naenae haengbok-hal guya
(They’ll keep you happy the whole year ‘round!)
胸にエナジー ケミカルの泡立ち**
mune ni enagii kemikaru no awadachi
(In my heart, energy bubbles up in a chemical froth)
ハイヤーや古タイヤや血や肉の通りを行き
haiya ya furu taiya ya chi ya niku no toori o yuki
(Hired cars, worn tires, blood, and flesh all line the street)
あれがリバティー ユートピアのパロディー
are ga ribati yutopia no parodii
(So that is liberty, a utopia's parody)
バイヤーやギガ・ムービーの絢爛の並木は晴れ
baiya ya giga mubii no kenran no namiki wa hare
(Of buyers and giga-movies is the avenue gleaming with the sun)
[マイナーな欝は戯言 バラ色は廉価]***
[maina na utsu wa zarego to bara iro wa renka]
[Minor gloom is nothing but plain farce; rose-tints are a dime a dozen]
[いわく幸せと知れ 持ちきれぬほど]
[iwa ku shiawase to shire mochikire nu hodo]
[So I say: understand that this is bliss, until you can't bear it]
瀕死のリテラシー メカニカルに殺す
hinshi no riterashii mekanikaru ni korosu
(Dying literacy; mechanical is the way it's killed)
売人や吊るワイヤーやホルムアルデヒドの通り
bainin ya tsuru waiya ya forumuarudehido no toori
(Traders, hanging wires, and formaldehyde permeate the street)
乾くシナジー 合成スイートで湿し
kawaku shinazii gose suito de shimeshi
(The drying of synergy; ersatz sweets re-moisten it)
高層のメガ神殿に狂乱のファンドの雨
goso no mega shinden ni kyoran no fando no ame
(On high-rise mega-temples, a downpour of funds in a frenzy)
[「蒙昧」の文字は書けねど 未来は廉価]
[momai no moji wa kakene do mirai wa renka]
['Ignorance’: though it's not written down, the future's dime a dozen]
[なべて迷信と笑え 因果のストーリー]****
[nabe te meishin to warae inga no sutorii]
['Superstition’ is the way to mock the fateful karmic story]
さあ異臭を放ち来る キミの影を喰い
saa ishuu wo hanachi kuru kimi no kage wo kui
(Ah, now the stench has truly begun, devouring your shadow all the way)
恐怖のパレードが来る キミの名の下に
kyouhu no paredo ga kuru kimi no nano moto ni
(With terror the parade approaches, and it is coming in your name)
轟音のMC シビリアンには致死量
goon no MC shibirianni wa chishiryou
(The roaring MC, for the civilian a lethal dose)
廃人や売るダイアや血に堕ちた道理の通り
haijin ya urudaia ya chi ni ochi ta dori no toori
(Invalids, sold diamonds, blood that despoils the righteous in the street)
あれがリバティー ユートピアのパロディー
are ga ribatii yutopia no parodii
(So that is liberty, a utopia's parody)
頼みはＳＳＲＩ さて流行のテラスでハイホー
tanomi wa SSRI sate hayari no terasu de haiho
(Rely on SSRIs, and then from popular terraces cry: 'high-ho!')
[マイナーな説はたわごと 享楽は廉価]
[maina na setsu wa tawago to kyouraku wa renka]
[Minor theories are nothing but pure nonsense; pleasure's dime a dozen]
[努々省みるな 手遅れゆえ]*****
[yume yume kaeriminu na teokure yue]
[Not an ounce of regret shall cross your mind, it's too late to repent]
さあ異臭を放ち来る キミの影を喰い
saa ishuu wo hanachi kuru kimi no kage wo kui
(Ah, now the stench has truly begun, devouring your shadow all the way)
恐怖のパレードが来る キミの名の下に
kyouhu no paredo ga kuru kimi no nano moto ni
(With terror the parade approaches, and it is coming in your name)
さあ地を埋めつくすほど キミの影が産む
saa chi wo umetsukusu hodo kimi no kage ga umu
(Ah, it's enough to smother the ground, what your shadow births all the way)
狂気のパレードが来る キミの名の下に
kyouki no paredo ga kuru kimi no nano moto ni
(With madness the parade approaches, and it is coming in your name)
Notes:
* This song is probably one of Hirasawa’s most popular songs, alongside ‘ 白虎野’ / ‘白虎野の娘’ (’Byakkoya’ / ‘Byakkoya no Musume’). The reason for this is that those songs were used in the film Paprika (2006) by Satoshi Kon:
They were fond collaborators and you can hear Hirasawa’s music elsewhere in Kon’s work all the time. We lost a great talent in Satoshi Kon when he died in 2010. I think most fans of Susumu Hirasawa are perfectly aware of Paprika (it’s the reason I discovered him, eight years ago), but if you haven’t had a chance to watch it yet, I recommend it wholeheartedly!
** Not actually a comment on the first line, but what comes before it.
‘Parade’ opens with a garbled, uncanny line that repeats throughout the song. This line is actually backmasked from ‘Nurse Café’, which I dealt with in yesterday’s post! It’s the ‘家々の窓を破り‘ (’ieie no mado wo yaburi’) half of the first line. By itself it translates as ‘... breaking through/shattering the windows of each house’, and I’m willing to believe that this imagery specifically is why he chose it to complement the subject matter(s) of ‘Parade’. If you watch Paprika and where this song comes in, too, it will... make sense why.
*** I wish there had been a way to better translate 廉価. ‘Renka’ means ‘on sale’ or ‘cheaply priced’ but it carries connotations deeper than that. In this song’s context, the word carries a sense of moral defilement with it. Hirasawa’s talking about us having reached some kind of critical mass in regards to amoral consumerism, to the extent that values that could not possibly be talked about in terms of price are being dirtied and devalued. To translate that as ‘dime a dozen’ straddles a line between preserving the cynical wryness of his tone and being outright incorrect, I think, but I don’t think either ‘cheap’ or ‘on sale’ conveys the meaning of 廉価 well enough, either.
**** Tone issues, again. I don’t think the seriousness of this line has come through perfectly in this translation. ‘Karma’ tends to have a bit of a wishy-washy tone to it in English, but I cannot stress enough how serious this is. A better, but non-literal/non-singable translation of ‘なべて迷信と笑え 因果のストーリー’ would be something like ‘[They] dismiss as superstition the foretold consequence of the total sum of our actions’; it’s a comment on cause and effect as much as the defilement the human race has piled upon itself.
***** This is a slightly expanded translation. I think the tone’s come across and everything that needed to be in it is in it. But if I didn’t care at all for lines being roughly singable, the on-point translation is: ‘Never regret what you’ve done, for it is already too late’.
Disclaimer: The lyrics of ‘パレード’, from Byakkoya, are the property of Susumu Hirasawa and are not copyrighted by this blog nor by the author of this post. The author claims ownership of the English wording of this translation, as well as certain stylistic features, neither of which denies nor seeks to possess the existence of other translations. This translation may change in the future.
今日の日を閉めて 花の咲く道理を飲みに***
kyou no hi wo shimete hana no saku douri wo nomi ni
(I'll drink from the order through which flowers bloom, once the day's done)
100年も囚われた オペラのような悲劇には
hyakunen mo torawareta opera no you na higeki ni wa
(For a whole hundred years as captives, an opera-like tragedy held us)
ミラクルのような喝采で 100夜の夜を照らし
mirakuru no you na kassai de hyakuya no yoru wo terashi
(Through the miracle of applauses, a hundred nights will shine bright)
ナース・カフェへ ナース・カフェへ 今日の日をまた閉めて
naasu kafe e naasu kafe e kyou no hi wo mata shimete
(Nurse Café! Nurse Café! Let us finish up today once again!)
ナース・カフェへ ナース・カフェへ 隣人の愛を見に
naasu kafe e naasu kafe e rinjin no ai wo mi ni
(Nurse Café! Nurse Café! Oh, go and see the neighbours' love!)
ナース・カフェへ ナース・カフェへ 今日の日をまた閉めて
naasu kafe e naasu kafe e kyou no hi wo mata shimete
(Nurse Café! Nurse Café! Let us finish up today once again!)
ナース・カフェへ ナース・カフェへ 隣人の愛を見に
naasu kafe e naasu kafe e rinjin no ai wo mi ni
(Nurse Café! Nurse Café! Oh, go and see the neighbours' love!)
Notes:
* I honestly have no idea what this song is about, only that it’s happy. But I do think this is a retelling of one of his experiences in Thailand; a remix of ‘Nurse Café’ appears in Switched-On Lotus, which is an album dedicated to his SP-2 friends now gone. He may be referring to a SP-2 club/cabaret/themed café that he either visited in real life or has created in the abstract.
** There is another song by Susumu Hirasawa that relates directly to this, not so much in terms of narrative but as a direct musical quote. I actually did that one some weeks ago. I wanted to post those songs one after the other, and I was just waiting for the correct inspiration for ‘Nurse Café’ to strike.
*** This song was quite difficult to translate. Not because it’s particularly obscure, but it doesn’t translate very smoothly - I’ve had to insert filler words or condense severely in order to preserve the sense. ‘今日の日を閉めて 花の咲く道理を飲みに’ (‘I'll drink from the order through which flowers bloom, once the day's done’) is the one I’m least pleased with, I think - that first half (’今日の日を閉めて’ / ‘kyou no hi wo shimete’) is quoted almost in full in the chorus, and I really would like to have preserved it the same in both instances. This line should really have read something like ‘I’ll finish up today and then drink from the order through which flowers bloom’, but that is much less singable. (Not that my singable translations aren’t always hit of miss anyway, but I digress...)
**** I’ve translated 慈悲 as ‘grace’. It’s really closer to ‘mercy’ or ‘compassion’. Another thing sacrificed for the sake of a smooth translation.
***** If you’re familiar with Japanese you’d have noticed that ‘ナース・カフェへ’ is not merely an exclamation of ‘Nurse Café!’, but a directional statement. That へ / ‘he’ actually renders it ‘To Nurse Café!’.
I kept this for the actual verses but not for the chorus, because just keeping it as ‘Nurse Café!’ made it more singable; I have, however, tried to preserve that sense of direction towards the café by rendering 今日の日をまた閉めて and 隣人の愛を見に respectively as imperatives. That way, you get to keep the feeling that in order to do those things, you are compelled to go to Nurse Café, while keeping the invocations of ‘Nurse Café!’ smooth.
Disclaimer: The lyrics of ‘Nurse Café’, from SIREN, are the property of Susumu Hirasawa and are not copyrighted by this blog nor by the author of this post. The author claims ownership of the English wording of this translation, as well as certain stylistic features, neither of which denies nor seeks to possess the existence of other translations. This translation may change in the future.
Freezing Gipnozaの奇怪な3Dムービー*
freezing Gipnoza no kikkai na 3D mubii
(Freezing Gipnoza's an uncanny 3D movie)
Loading 秘伝のストーリー永遠のロングラン
loading hiden no storii eien no ronguran
(Loading the secret story, an eternal long run)
カタストロフィー 晴れるフォギー
katasutorofii hare ru fogii
(Catastophe; the fog is lifting)
難なくUnlock 瞬時に転換 瞬時に払拭
nannaku unlock shunji ni tenkan shunji ni fushoku
(Smoothly unlock; shift in an instant; wipe out at once)
勝利 Gipnozaの沈痛な雲を割り
shori Gipnoza chintsu na kumo wo wari
(Mournful Gipnoza's a cloud that's been split by victory)
脅威 秘伝のムービー坦懐の美を見せ
kyou ii hiden no mubii tankai no biwo mise
(Menace of the secret movie shows the beauty of frankness)
カタストロフィー 晴れるフォギー
katasutorofii hare ru fogii
(Catastophe; the fog is lifting)
難なくUnlock 瞬時に転換 瞬時に払拭
nannaku unlock shunji ni tenkan shunji ni fushoku
(Smoothly unlock; shift in an instant; wipe out at once)
奇怪の結界の Freeze 気づくだけの
kikkai no kekkai no freeze kizuku dake no
(All the uncanny barriers freeze, yet just from realizing)
晴れるフォギー 瞬間のCrash 置き去るだけ
hare ru fogii shunkan no crash okizaru dake
(The fog is lifting; a sudden crash, no choice but to leave it)
ロングランの永遠の絶景 気づくだけの
ronguran no eien no zekkei kizuku dake no
(The long run's magnificent landscape, yet just from realizing)
坦懐のデジャビューへと出てゆくだけ
tankai no dejabyu e to dete yuku dake
(Towards the frank déjà vu there's no choice but to get out)
Breathing Gipnozaの厄介なパラサイト
breathing Gipnoza no yakkai na parasaito
(Breathing, Gipnoza's a tiresome parasite)
Loading 既視的ムービー永遠のロングラン
loading kishiteki mubii eien no ronguran
(Loading an already-seen movie, an eternal long run)
カタストロフィー 晴れるフォギー
katasutorofii hare ru fogii
(Catastophe; the fog is lifting)
難なくUnlock 瞬時に転換 瞬時に払拭
nannaku unlock shunji ni tenkan shunji ni fushoku
(Smoothly unlock; shift in an instant; wipe out at once)
奇怪の結界の Freeze 気づくだけの
kikkai no kekkai no freeze kizuku dake no
(All the uncanny barriers freeze, yet just from realizing)
晴れるフォギー 瞬間のCrash 置き去るだけ
hare ru fogii shunkan no crash okizaru dake
(The fog is lifting; a sudden crash, no choice but to leave it)
ロングランの永遠の絶景 気づくだけの
ronguran no eien no zekkei kizuku dake no
(The long run's magnificent landscape, yet just from realizing)
坦懐のデジャビューへと出てゆくだけ
tankai no dejabyu e to dete yuku dake
(Towards the frank déjà vu there's no choice but to get out)
奇怪の結界の Freeze 気づくだけの
kikkai no kekkai no freeze kizuku dake no
(All the uncanny barriers freeze, yet just from realizing)
晴れるフォギー 瞬間のCrash 置き去るだけ
hare ru fogii shunkan no crash okizaru dake
(The fog is lifting; a sudden crash, no choice but to leave it)
ロングランの永遠の絶景 気づくだけの
ronguran no eien no zekkei kizuku dake no
(The long run's magnificent landscape, yet just from realizing)
坦懐のデジャビューへと出てゆくだけ
tankai no dejabyu e to dete yuku dake
(Towards the frank déjà vu there's no choice but to get out)
* Like most of Susumu Hirasawa’s albums, Gipnoza has a story behind it too. The album depicts the tale of a dystopia where people are constantly being fed propaganda and plays of illusions (following from Vistoron’s story also); a ‘Gipnoza’ in this context is a kind of nanobot that is mixed in with the water, the food, the medications taken by people etc. until the people who’ve ingested it can see nothing but a gentle fairytale reality. (If you’re familiar with NIN’s Year Zero ARG and the concept of Parepin, you know what this is about.) If you take the song as part of the story, therefore, the whole thing about ‘Gipnoza’s being parasites or invoking already-seen imagery is very literal. It’s actually about trying to wake up from actual governmental mind control robots.
Given that ‘гипноза’ means ‘hypnosis’ in Russian, however, you can take it as a more generalized commentary on the modern world too. Susumu Hirasawa made this album with the 2011 Tohoku earthquake in mind, which is acknowledged in-story and in his production notes. Something to think about.
Disclaimer: The lyrics of ‘гипноза', from Gipnoza, are the property of Susumu Hirasawa and Kaku P-Model and are not copyrighted by this blog nor by the author of this post. The author claims ownership of the English wording of this translation, as well as certain stylistic features, neither of which denies nor seeks to possess the existence of other translations. This translation may change in the future.
Title: ‘Sim City’ (see also ‘Sim City 2′)
Artist: 平沢進 / Miss N. / Wisakha Fraytes
Album: Sim City (1995)
[Live Performance: ‘Sim City 2′ from Solar Ray (2002)]
(It's very cold)
ไปด้วยกัน มาด้วยกัน ไปเที่ยวกัน ที่เมืองใหญ่นี้ *
pị d̂wy kạn mā d̂wy kạn pị theī̀yw kạn thī̀ meụ̄xng h̄ıỵ̀ nī̂
(Come with me, let us go together to that great city)
ระหว่าง เมือง SIM CITY และ ยี่สิบสี่ ถนนจรัญ *
rah̄ẁāng meụ̄xng SIM CITY læa yī̀s̄ib s̄ī̀ t̄hnn crạỵ
(In between Sim City and Charansanitwong 24)
ไปด้วยกัน มาด้วยกัน ไปเที่ยวกัน ที่เมืองใหญ่นี้
pị d̂wy kạn mā d̂wy kạn pị theī̀yw kạn thī̀ meụ̄xng h̄ıỵ̀ nī̂
(Come with me, let us go together to that great city)
ระหว่าง เมือง SIM CITY และ ยี่สิบสี่ ถนนจรัญ
rah̄ẁāng meụ̄xng SIM CITY læa yī̀s̄ib s̄ī̀ t̄hnn crạỵ
(In between Sim City and Charansanitwong 24)
ああ 雲の影さえ重く
aa kumo no kagesae omoku
(Ah, even the clouds are heavy with shadow)
ああ 人の声に凍えて
aa hito no koe ni kogoete
(Ah, I am frozen by a human voice)
繰り返し 繰り返して キミは誘うよ
kurikaeshi kurikaeshi te kimi wa sasou yo
(Time and time again, then again and again, you entice me there)
繰り返し 繰り返して キミは誘う
kurikaeshi kurikaeshi te kimi wa sasou
(Time and time again, then again and again, you entice me...)
(The sky is dark)
ไปด้วยกัน มาด้วยกัน ไปเที่ยวกัน ที่เมืองใหญ่นี้
pị d̂wy kạn mā d̂wy kạn pị theī̀yw kạn thī̀ meụ̄xng h̄ıỵ̀ nī̂
(Come with me, let us go together to that great city)
ระหว่าง เมือง SIM CITY และ ยี่สิบสี่ ถนนจรัญ
rah̄ẁāng meụ̄xng SIM CITY læa yī̀s̄ib s̄ī̀ t̄hnn crạỵ
(In between Sim City and Charansanitwong 24)
ไปด้วยกัน มาด้วยกัน ไปเที่ยวกัน ที่เมืองใหญ่นี้
pị d̂wy kạn mā d̂wy kạn pị theī̀yw kạn thī̀ meụ̄xng h̄ıỵ̀ nī̂
(Come with me, let us go together to that great city)
ระหว่าง เมือง SIM CITY และ ยี่สิบสี่ ถนนจรัญ
rah̄ẁāng meụ̄xng SIM CITY læa yī̀s̄ib s̄ī̀ t̄hnn crạỵ
(In between Sim City and Charansanitwong 24)
ああ 椅子に掛け日溜まりへ
aa isu ni kake hidamari e
(Ah, sat on my chair facing the sun)
ああ あの街でキミに逢う
aa ano machi de kimi ni au
(Ah, I encounter you on that street)
繰り返し 繰り返し 来た道をたどるよ
kurikaeshi kurikaeshi kitta michi wo tadoruyo
(Time and time again, then again and again, I tread the road I came)
繰り返し 繰り返し 来た道が見えー
kurikaeshi kurikaeshi kitta michi ga mie-
(Time and time again, then again and again, I see the way I came...)
(It's very cold)
[INSTRUMENTAL] **
(The sky is dark)
ไปด้วยกัน มาด้วยกัน ไปเที่ยวกัน ที่เมืองใหญ่นี้
pị d̂wy kạn mā d̂wy kạn pị theī̀yw kạn thī̀ meụ̄xng h̄ıỵ̀ nī̂
(Come with me, let us go together to that great city)
ระหว่าง เมือง SIM CITY และ ยี่สิบสี่ ถนนจรัญ
rah̄ẁāng meụ̄xng SIM CITY læa yī̀s̄ib s̄ī̀ t̄hnn crạỵ
(In between Sim City and Charansanitwong 24)
ไปด้วยกัน มาด้วยกัน ไปเที่ยวกัน ที่เมืองใหญ่นี้
pị d̂wy kạn mā d̂wy kạn pị theī̀yw kạn thī̀ meụ̄xng h̄ıỵ̀ nī̂
(Come with me, let us go together to that great city)
ระหว่าง เมือง SIM CITY และ ยี่สิบสี่ ถนนจรัญ
rah̄ẁāng meụ̄xng SIM CITY læa yī̀s̄ib s̄ī̀ t̄hnn crạỵ
(In between Sim City and Charansanitwong 24)
ああ 嘘を咲く花も無く
aa uso wo saku hana mo naku
(Ah, no flowers of deceit can bloom here)
ああ 来た道も帰れない
aa kitta michi mo kaerenai
(Ah, I cannot go back the way I came)
繰り返し 繰り返して キミは誘うよ
kurikaeshi kurikaeshi te kimi wa sasou yo
(Time and time again, then again and again, you entice me there)
繰り返し 繰り返して キミは誘う
kurikaeshi kurikaeshi te kimi wa sasou
(Time and time again, then again and again, you entice me...)
ไปด้วยกัน มาด้วยกัน ไปเที่ยวกัน ที่เมืองใหญ่นี้
pị d̂wy kạn mā d̂wy kạn pị theī̀yw kạn thī̀ meụ̄xng h̄ıỵ̀ nī̂
(Come with me, let us go together to that great city)
ระหว่าง เมือง SIM CITY และ ยี่สิบสี่ ถนนจรัญ
rah̄ẁāng meụ̄xng SIM CITY læa yī̀s̄ib s̄ī̀ t̄hnn crạỵ
(In between Sim City and Charansanitwong 24)
ไปด้วยกัน มาด้วยกัน ไปเที่ยวกัน ที่เมืองใหญ่นี้
pị d̂wy kạn mā d̂wy kạn pị theī̀yw kạn thī̀ meụ̄xng h̄ıỵ̀ nī̂
(Come with me, let us go together to that great city)
ระหว่าง เมือง SIM CITY และ ยี่สิบสี่ ถนนจรัญ
rah̄ẁāng meụ̄xng SIM CITY læa yī̀s̄ib s̄ī̀ t̄hnn crạỵ
(In between Sim City and Charansanitwong 24)
ไปด้วยกัน มาด้วยกัน ไปเที่ยวกัน ที่เมืองใหญ่นี้
pị d̂wy kạn mā d̂wy kạn pị theī̀yw kạn thī̀ meụ̄xng h̄ıỵ̀ nī̂
(Come with me, let us go together to that great city)
ระหว่าง เมือง SIM CITY และ ยี่สิบสี่ ถนนจรัญ
rah̄ẁāng meụ̄xng SIM CITY læa yī̀s̄ib s̄ī̀ t̄hnn crạỵ
(In between Sim City and Charansanitwong 24)
ไปด้วยกัน มาด้วยกัน ไปเที่ยวกัน ที่เมืองใหญ่นี้
pị d̂wy kạn mā d̂wy kạn pị theī̀yw kạn thī̀ meụ̄xng h̄ıỵ̀ nī̂
(Come with me, let us go together to that great city)
ระหว่าง เมือง SIM CITY และ ยี่สิบสี่ ถนนจรัญ
rah̄ẁāng meụ̄xng SIM CITY læa yī̀s̄ib s̄ī̀ t̄hnn crạỵ
(In between Sim City and Charansanitwong 24)
Notes:
* I’ve kept the Thai lyrics and transliteration for the chorus, but a version heard and transcribed into katakana/romaji does exist. I didn’t add either the katakana or the Japanese pronunciation for the main lyrics because there was no need, but they would read like this:
パイドゥアイ カン マードゥアイカン パイティオ カンティームァングヤイニー
paiduai kan maaduai kan paiti wo kantiimwangu yai nii
ラワーングムァング シムシティ レイーシプシー タノン チャラン
rawaangu mwangu shimushiti reiishipushii tanon charan
Charansanitwong is an actual road in Bangkok.
** That strange faint windy-sounding instrument in the middle of the song is called a Miburi. It plays through sensing the movements of your body. If you watch the above video (the Solar Ray performance) you can see it in action; all those seemingly random arm/wrist movements are him playing it, and exceptionally well, too. The Miburi is very tricky to master. It’s not too common to begin with, and I don’t think there are more than ten or so professional musicians in Japan who are fluent in it.
*** This is not about the text itself, but some context behind the album.
The lyrics of ‘Sim City’ were written by Susumu Hirasawa and Miss N. - his friend, cover model of Sim City, and an ‘SP-2′ cabaret performer. This is specific Hirasawan terminology for certain non-binary individuals of Thailand; in English they might be better known as ‘kathoey’, but within Thai society, the term is often regarded as a pejorative and therefore best avoided. According to those notes, Susumu Hirasawa came upon the same issue. He loves Thailand and its culture greatly, and has done so since first visiting the country prior to making this album; eventually, he disavowed the years he spent referring to his friends as ‘kathoey’ and came up with a new term for them, which is the aforementioned ‘SP-2′. It is short for ‘saopraphetson’ (’second type of woman’) and he apparently inserted the hyphen between ‘SP’ and ‘2′ so that no one would confuse it with ‘Windows Service Pack 2′ (Windows SP2). His SP-2 friends and fellow artists feature quite frequently in his work and live performances, so that’s some background for you :D
Disclaimer: The lyrics of 'Sim City', from Sim City, are the property of Susumu Hirasawa and Miss N. and are not copyrighted by this blog nor by the author of this post. The author claims ownership of the English wording of this translation, as well as certain stylistic features, neither of which denies nor seeks to possess the existence of other translations. This translation may change in the future.
[崇·め·よ、我はTV･･･TV･･･]
[a-ga-me-yo, ware wa TV... TV...]
[Venerate me, for I am TV... TV...]
[崇·め·よ、我はTV･･･TV･･･]
[a-ga-me-yo, ware wa TV... TV...]
[Venerate me, for I am TV... TV...]
[崇·め·よ、我はTV･･･TV･･･]
[a-ga-me-yo, ware wa TV... TV...]
[Venerate me, for I am TV... TV...]
[崇·め·よ、我はTV･･･TV･･･]
[a-ga-me-yo, ware wa TV... TV...]
[Venerate me, for I am TV... TV...]
言いよどめ 断じて禁じる意志など廃退の夢ごと
ii yodome danjite kinjiru ishi nado haitai no yume goto
(Stop the flow of speech, a firm disciplined will is but a decadent dream)
目をふさげ 信じる教義の甘美を絶え間なく届けよう
me wo fusage shinjiru kyogi no kanbi wo taema naku todokeyou
(Cover up your eyes, keep relaying the sweetness of your dogma)
またはわずかなリスクだけ
mata wa wazukana risuku dake
(Either that, or for an insignificant risk)
FREE! タダのFREE!
free! tada no free!
(Free! It's only free!)
または アイヤイヤイヤイヤイヤー！
mata wa aiyaiyaiyaiyaiya–!
(Either that, or aiyaiyaiyaiyaiya–!)
[崇·め·よ、我はTV･･･TV･･･]
[a-ga-me-yo, ware wa TV... TV...]
[Venerate me, for I am TV... TV...]
[崇·め·よ、我はTV･･･TV･･･]
[a-ga-me-yo, ware wa TV... TV...]
[Venerate me, for I am TV... TV...]
目を見張れ 断じて正義の黒煙問いは破廉恥となじれ
me wo mihare danji tte segi no kokuen toi wa harenji to najire
(Open up your eyes, firmly denounce the queries of the black smoke of justice)
口開け ショックと憎悪の麻薬を絶え間なく届けよう
kuchi hirake shokku to jowo no mayaku wo tae manaku todoke yo
(Open up your mouth, keep relaying the drug of shock and hatred)
またはわずかなリスクだけ
mata wa wazukana risuku dake
(Either that, or for an insignificant risk)
FREE! タダのFREE!
free! tada no free!
(Free! It's only free!)
または アイヤイヤイヤイヤイヤー！
mata wa aiyaiyaiyaiyaiya–!
(Either that, or aiyaiyaiyaiyaiya–!)
[崇·め·よ、我はTV･･･TV･･･]
[a-ga-me-yo, ware wa TV... TV...]
[Venerate me, for I am TV... TV...]
[崇·め·よ、我はTV･･･TV･･･]
[a-ga-me-yo, ware wa TV... TV...]
[Venerate me, for I am TV... TV...]
ゲロを吐け 断じて狂気の罪人罵詈と孤立を授けよう
gero wo hake danji tte kyougi no zainin bari to koritsu wo sazuke you
(Vomit it all up, grant for the insane sinner firm abuse and isolation)
耳を貸せ 信じる教理は享楽絶え間なく届けよう
mimi wo kase shinji ru kyori wa kyoraku tae manaku todoke you
(Listen carefully, keep relaying hedonism as the dogma you believe in)
またはわずかなリスクだけ
mata wa wazukana risuku dake
(Either that, or for an insignificant risk)
FREE! タダのFREE!
free! tada no free!
(Free! It's only free!)
ただし アイヤイヤイヤイヤイヤー！
tadashi aiyaiyaiyaiyaiya–!
(It’s only aiyaiyaiyaiyaiya–!)
Disclaimer: The lyrics of ‘‘崇めよ我はTVなり’, from Vistoron, are the property of Susumu Hirasawa and Kaku P-Model and are not copyrighted by this blog nor by the author of this post. The author claims ownership of the English wording of this translation, as well as certain stylistic features, neither of which denies nor seeks to possess the existence of other translations. This translation may change in the future.
‘Wir sind die Roboter’
Daft Punk Phone Interview: Translated
(I promised one of my German translations for my next post, and I deliver! This is an HAA-era interview, and one of the many clippings available through @ifcwdjd‘s archive; for that reason, I can’t source which publication exactly this comes from, and defer to the tumblr mention instead. This is an interview with only Guy-Manuel, and for that alone it was worth some attention; the entire interview has been patched into the above image, but if you’re on mobile, there’s still a text version available!)
Text version: [Link]
Documentation: [Link]
Disclaimer: The original speech of this interview, given by Guy-Manuel de Homem Christo, is not copyrighted by this blog nor by the author of this post. Therefore, the original German text will not be distributed here. The author claims ownership of the wording of this translation, which does not deny nor seek to possess the existence of other translations. This translation may be subject to changes in the future.
Relax No. 49 / March 2001
Relaxin’ With Daft Punk: Translated
(What a gorgeous lot! I’ve worked on this before, and my prior posts dealing with this magazine also include the original Japanese text. For the transfer to this blog, however, I’ve decided to do something a bit different - I’ve cleaned up the images and patched in the translations as I always do, but I’ve also made a completely textless version of the images available, should you be interested in seeing them. The .zip archives are linked below. I plan to make a similar cleaned-up photoset of the Loud No. 168 Justice interview at some point as well, so please - check these out!)
ZIP Archive: [Translation] | [Translation + Textless Images]
Documentation: [Link]
EYESCREAM Magazine / November 2006
‘My Sweet Technology’: Translated
(This is actually one of the first translations I’ve done for anything EDM-related. The older post in my blog does contain the original Japanese text of the caption - I did that originally to demonstrate that my translation was legit, and when I give away small snippets of translation projects I do tend to quote the original texts for this purpose. But I hadn’t done anything with the cover before, so I’ve patched both the cover page and the caption for this blog. There’s no PDF for this, but there’s a .zip archive and documentation available nonetheless if you’d like it!)
(I don’t think this interview’s been translated before. Sadly, the recent end of Bromance Records has made reading this over rather bittersweet, but there’s value in preserving those interviews and older material, translating them if necessary for the sake of further exposure and remembrance. This interview was done in 2013 in celebration of the Bromance compilation album, which I believe was a Japan-only release; most of the info I can find about it is in Japanese and the ISBN takes you to straight to Japanese sources. The text of the full interview is online, as linked here, and I managed to get some good practice in structuring webpage interviews into a PDF format!)
Full PDF version: [Link]
Text version: [Link]
Documentation: [Link]
Disclaimer: The original text of this interview, given by Brodinski in 2013 and currently available on Block.fm, is not copyrighted by this blog nor by the author of this post. Therefore, the original Japanese text will not be distributed here. The author claims ownership of the wording of this translation, which does not deny nor seek to possess the existence of other translations. This translation may be subject to changes in the future.
LOUD No. 168 / December 2008
Justice Interview: Translated
(This is easily one of the longest interviews I’ve ever worked on, perhaps second only to ‘Daft Punk: Zurück in die Zukunft’ - except with that one, I never had to work with two cross-shaped layouts on top of translating everything down to a DVD/CD ad. I am so proud, and I am so in love, and I am so happy to share this with you nearly ten years after it was done… but oh my God the sheer stress involved in this was unbelievable.
This interview is fundamentally about the creation of A Cross the Universe, and it has so much content that it has been possible for me to offer a choice between PDF quality, as well as dividing the text version into two posts. The text in the HQ version is selectable, but not in LQ; all images in the text version have the Japanese text removed and cleaned up, so if you are interested in the raw images of this interview, check those posts out as well. I hope you will all enjoy this translation, and if you did, please reblog!)
Full PDF version: [HQ] | [LQ]
Text version: [Cover / Advertisement] | [Interview]
Documentation: [Link]
Disclaimer: The original text of this interview and associated material, given by Justice and printed in LOUD Magazine in 2008, is not copyrighted by this blog nor by the author of this post. Therefore, the original Japanese text will not be distributed here. The author claims ownership of the wording of this translation, which does not deny nor seek to possess the existence of other translations. This translation may be subject to changes in the future.
BLING Magazine / February 2012
Justice Interview: Translated
(This is another interview I did a while back and have now transferred over to this blog. The text itself hasn’t changed overmuch, but there was plenty that still needed editing or had to be explained. For that reason, I would recommend checking out the documentation for this interview. There are some Korea-specific references explained in there, like the military jacket incident and food descriptions, and I guarantee that it’ll be a good accompanying read! The entire interview is above, but as the image is fairly small, I would recommend the PDF version.)
Full PDF version: [Link]
Text version: [Link]
Documentation: [Link]
Disclaimer: The original text of this interview, given by Justice and printed in BLING Magazine in 2012, is not copyrighted by this blog nor by the author of this post. Therefore, the original Korean text will not be distributed here. The author claims ownership of the wording of this translation, which does not deny nor seek to possess the existence of other translations. This translation may be subject to changes in the future.
SURE Magazine / March 2012
Justice Interview: Translated
(I actually translated this a while back! I’ve cleaned it up closer to the original formatting for this piece, however, and worked on the image to eliminate the overlaid text so that I could replace it with the English translation. This is a Korean interview given shortly after the release of Audio, Video, Disco - it being so short and sweet, I’ve attached the entire interview here as the image, but there’s still a PDF version with selectable text and a tumblr post version if you want it!)
Full PDF version: [Link]
Text version: [Link]
Documentation: [Link]
Disclaimer: The original text of this interview, given by Justice and printed in SURE Magazine in 2012, is not copyrighted by this blog nor by the author of this post. Therefore, the original Korean text will not be distributed here. The author claims ownership of the wording of this translation, which does not deny nor seek to possess the existence of other translations. This translation may be subject to changes in the future.
Crossbeat Presents Electro Book 2013
Justice Interview: Translated
(Immediately next to the Daft Punk interview in Electro Book 2013 is a Justice interview, reprinted from the good old days of Cross. This is a Xavier-only interview and it’s not been translated into English before - why not complete the set while I’m still on the Electro Book projects? Xavier is very reserved for this interview, though he expands a lot on the intentions melded into the album. Just be sure not to call it ‘messages’ in the work - because apparently they don’t put those into their music!)
Full PDF version: [Link]
Text version: [Link]
Documentation: [Link]
Disclaimer: The original text of this interview, given by Justice and printed in Crossbeat Presents Electro Book 2013, is not copyrighted by this blog nor by the author of this post. Therefore, the original Japanese text will not be distributed here. The author claims ownership of the wording of this translation, which does not deny nor seek to possess the existence of other translations. This translation may be subject to changes in the future.
Crossbeat Presents Electro Book 2013
Daft Punk Interview: Translated
(To commemorate the opening of this new blog - and the translations from my old blog, as well as new ones still to come - let’s go back to basics! This interview was actually from 2001, and was subsequently republished in Electro Book 2010 and 2013. The interview itself is the same, but the contexts have differed (the former has an additional focus on TRON: Legacy, while 2013 celebrates the release of Random Access Memories) enough that I felt that it was worth laying the text out in full. Justice have an interview in the 2013 edition that I’ve also worked on, and the 2010 version will also be coming soon!)
Full PDF version: [Link]
Text version: [Link]
Documentation: [Link]
Disclaimer: The original text of this interview, given by Daft Punk and printed in Crossbeat Presents Electro Book 2013, is not copyrighted by this blog nor by the author of this post. Therefore, the original Japanese text will not be distributed here. The author claims ownership of the wording of this translation, which does not deny nor seek to possess the existence of other translations. This translation may be subject to changes in the future.
Welcome to luminatranslations.com!
This site and the sideblog (@edmtranslations) is a site to host my translations on full-time, carrying on from the work I’ve done in my older blogs. Work on the structure of the site has now been completed, and I can begin to move my translations over, as well as building up further information!
