Hitorie Translations

Every last 70+ Hitorie song has a translation? What in tarnation. Please call me Manju! Yumao wowaka Shinoda ygarshy all amazing musicians. My twitter is @boat_manju. If you use my translations for anything, a credit link would make me happy!

[manjuhitorie]

Hiroshi Kamiya(神谷浩史) + Hitorie - Sunrise Orange(サンライズオレンジ) - Lyrics English Translation

Vocals by Kamiya Hiroshi, written by Shinoda, performed by Hitorie

僕らの願う綺麗事だけで朝を迎えられたなら If only the sun would rise with nothing but our perfect pipe dreams beneath it そのまま静かに日々が暮れて行くのなら Then we'd live out our days in peace and quiet until the sun went down いらなくなったものでさえ Then even the things we would have long since cast aside 名前をつけた人が居るように By virtue, it would be as if the namegivers were still here with us 望みとはあまりにも容易く But merely making a wish is the easy part 悲しいことがあったから Something upsetting happened いつか嬉しいこともやってくる So something good is bound to happen soon それを信じて今日もまた生きていくのだろう You need to keep believing so, to get you through the days 振り返るのを恐れては The reason why we fear looking back upon the path we once walked 意味の無いよな時間をまた刻む Is because we keep letting the time pass without accomplishing a thing 僕は、何処に何を置いてきた？ I, I placed what and where? 人であることは案外難しくて Being a functional human being is surprisingly tough 誰に決められた覚えもないのにね Though I don't recall anybody ever saying this is how things need to be ねえどうして君が涙を流すそのくだらない Hey, how come I'm never one of the 数多の理由のひとつにもなれない Countless stupid reasons as to why you cry 僕がただ許せないだけ The only person I cannot forgive is myself その涙を止められないことも Especially because I cannot even stop you from crying 僕は許せないだけ I just can't forgive myself 誰かを傷付けたことも I hurt others 誰かに傷付けられたことも And others hurt me イヤだった出来事の棚に All these unpleasant memories 仕舞い込んだら、じゃあねまた明日 I stash them on a shelf together and say bye-bye, but I'll be back again by tomorrow 儚い祈りを胸に抱き I hold on to my transient hopes いつか嬉しいことがやって来る Something good is bound to happen soon 望みとはあまりにも容易く But merely making a wish is the easy part まるで花のように咲いて散る My prayers are but like a flower, blooming only to scatter off to the winds 人であることがあまりにも難しくて Being a functional human being is surprisingly tough そう思い続けてここまで生きて来たんだろう But despite that I've managed to make it through the days ねえどうして Hey, how come 君が涙を流すそのくだらない I'm never one of the 数多の理由のひとつにもなれない Countless stupid reasons as to why you cry 僕がただ許せないだけ The only person I cannot forgive is myself その涙を止められないことも Especially because I cannot even stop you from crying 見えない幸せの影、形 The shadows, shapes of unseeable happiness 救われたい気持ち The feeling of wanted to be saved somehow 報われなかった痛み The pain when nothing goes your way 腫れた涙目で滲んでた We search for a future wherein we can 夜明けのオレンジを許せてしまう時を Forgive the oranges of the sunset 僕らは探し続ける Even when they're blurred by our swollen eyes full of tears 悲しい歌もあったねと In hopes that one day we can laugh over this いつか笑える時が来るように Over how we made sad songs 僕は、ここに望みを置いていく。 I, I place my hopes here.

[manjuhitorie]

Itsuki Natsume (+ Shinoda) - bottom - Lyrics English Translation

Vocals by 棗いつき, lyrics and music written by Shinoda. 罪と罰にフォークとナイフを入れる I stick a fork and knife into crime and punishment 腹が空けば鼻だって効いて来る When my belly is empty and hungry it makes even my nose sharp それがどうした What’s wrong with that 一段と今日もまた癪に触るんだ Today’s one of those days where things are exceptionally getting on my nerves, I can’t stomach this 雄弁なあいつら、面の皮の裏っ側 All these silver-tongued people, I can see straight through their barefaced lies 見える見える I can see どうにもこうにもつまんねえよ It’s a bore, no matter how you slice it つまんねえな、つまんねえさ Such a bore, just a bore わかるかい?なあ Ya get me? ‘Ey つける薬も見つかんないなら If you can’t even find the right medicine to put on this, then もういいかい?お遊びもいい加減 Have ya had enough by now? Playtime is over 丁度今切らしてた The flame that was just cut off 火を借してくれないか Can you pass it over to me 肺の底まで、沁みる沁みる It seeps down deep into the bottom my lungs, it seeps down この目玉で見てきたことは知ってる I know well what I’ve seen with my own eyeballs この目玉で見てきたことだけ信じる I only believe in what I’ve seen with my own eyeballs 人間は有限だ People are finite ああ、それだけが真実だ Ahh, that alone is a fact 雄弁な連中の赤いベロの裏っ側 Those silver-tongued folk, I can see straight past their red tongues 見える見える、見える見える I can see, I can see I can see どうにもこうにもつまんねえよ It’s a bore, no matter how you slice it つまんねえな、つまんねえさ Such a bore, just a bore わかるかい?なあ Ya get me? ‘Ey つける薬も見つかんないなら If you can’t even find the right medicine to put on this, then もういいかい?お遊びもいい加減 Have ya had enough by now? Playtime is over 生憎これでも十分さ You’ve had the fill of a lifetime こうやって息してる今が全てだ The moment we’re living in right here and now is everything 丁度今切えそうな The flame that was on the verge of dying out 火をつけられちまった Has been lit on me 肺の底まで、沁みる沁みる It seeps down deep into the bottom of my lungs, it seeps down

[manjuhitorie]

Morfonica × Hitorie - ビューティーフォー(beauty for) - Lyrics English Translation

Lyrics and music written by Shinoda, performed by Hitorie, vocals by Morfonica.

感受性の迷宮が旋律を掻きむしる My internal labyrinth of sensibilities rips and tears at the melody 翌る日の朝のように眩しく As bright and blinding as the dawn of the coming day 産声がやがて月面に降り立つ様な Like a frail newborn that eventually manages to set her feet down upon the moon- 奇跡のひとつになりたくて I want to be one of those kind of miracles 今、あなたの様に寂しいな Right now, I'm as lonely as you are 息が詰まるほど To the point that it's suffocating ビューティ・フォーミー Beauty for me 数え切れない程の約束 Promises abound 守れなくてもいいから交わそう、交わそう And I don't care if we keep them or not, let's just make them, make them ビューティ・フォーユー Beauty for you いつか、もしかして、ひとつでも Because what if, one day, somehow, even just one of our promises 叶うのだとしたら May come true 涙も出ない夜の底で Deep in the night, when I had no tears left to shed 出来もしないこと考えた I had an impossible idea 瞼を閉じればそこにいる When I close my eyes, I see 他の誰でもなく Nobody else やるせない想いであつらえた翼で With wings, custom ordered to be fashioned out of our most pathetic feelings 出来るだけ遠くまで飛ぼうとしたんだ We flied away as far as we could go 大嫌いを排気量に変換して Turning everything we hate into our power output ほら、どこまでも行ける See, we can go anywhere そうさ That's right ビューティ・フォーミー Beauty for me 数え切れない程の約束 Promises abound 守れなくてもいいから交わそう、交わそう And I don't care if we keep them or not, let's just make them, make them ビューティ・フォーユー Beauty for you いつか、もしかして、ひとつでも Because what if, one day, somehow, even just one of our promises 叶うのだとしたら May come true ねぇ、きっと　ビューティフォー Hey, it must be so beautiful 願って　ビューティフォー Hope, for what's beautiful 今ここに居るあなただけの約束 You're here with me, here where we made our special promises ねぇ、きっと　ビューティフォー Hey, it must be so beautiful 願って　ビューティフォー Hope, for what's beautiful またここで会えることだけを誓って Vow only to meet each other here again one day ねぇ、きっと　ビューティフォー Hey, it must be so beautiful ビューティ・フォーユー Beauty for you そう、きっとあなたは Yes, so long as it's you, surely いつか、もしかして、ひとつだけ One day, maybe, you'll be able to make even just one 叶えられるのさ Come true

[manjuhitorie]

Ryushen feat. Hitorie - sleep sheep syndrome - Lyrics English Translation

Lyrics and music written by Shinoda, performed by Hitorie, sung by Ryushen and Shinoda.

one sheep, two sheep… ドーパミン依存由来の頭の中が熱帯夜 Dopamine dependency has turned my mind into a tropical night 白いシーツのくしゃくしゃみたい Like wrinkles on a white sheet 誰も洗ってはくれない That nobody will put in the laundry 永久、A.M　非自律神経 Eternally, A.M, dysautonomic nerves 瞼の裏で踊るインソムニア Insomnia dances beneath my eyelids delayed, delayed, delayed. これやんなくていいの？ Is it alright to just not do this? ねえやんなくていいの？ Hey can I just not do this? がもういっぱい I'm done with not doing anything delayed, delayed, delayed. 何であんなこと言うの？ Why did you say something like that? ねえあんなこと言うの？ Hey say something like that? でもういっぱい And that's it I'm done delayed, delayed, delayed. 例え朝が来たとしても今日の延長線上で Even if the morning comes, I still, as an extension of today, もう、寝たい、寝たい、寝たい Want to sleep, and sleep, and sleep それがなんか出来ない But I can't really do that それがなんか出来ないのでした I couldn't really do that one sheep, two sheep… 興味無い、見ない、見ない、見ない I have no interest, I won't look, I won't look, I won't look なら見なけりゃいいだけで So then just don't look and everything's alright もうしない、しない、しない、しない I won't do it anymore, I won't, I won't ならもうしないで欲しくて So then I want you to just not do it anymore ああ未来、未来、未来、未来へ辿り着く為の Ahh in order to reach the future, the future, the future, the future 一歩前で、前で、前で、前で躓いてしまうのだ One step forward, forward, forward, forward, I stumble ahead 関連する動画の波に埋もれて Buried in the waves of the related video section 考察が伏線を回収のアレして They're doing that thing of theorizing over hints 何遍も観たから早よ更新して I've watched these countless times already so I restlessly reload 明日何時に起きればいいんだっけ What time was I supposed to wake up tomorrow again? A.M、P.M　わたし無関係 A.M, P.M, none of that matters to me 瞼の裏で拡大していく Beneath my eyelids it expands one sheep, two sheep, twenty sheep and forty sheep. あ Ah delayed, delayed, delayed. これやんなくていいの？ Is it alright to just not do this? ねえやんなくていいの？ Hey can I just not do this? がもういっぱい I'm done with not doing anything delayed, delayed, delayed. Why did you say something like that? ねえあんなこと言うの？ Hey say something like that? でもういっぱい And that's it I'm done delayed, delayed, delayed. 頭の中のパーティーで除け者にされている I'm being shunned as an outcast even at the party inside my mind もう、寝たい、寝たい、寝たい I want to sleep, and sleep, and sleep それがなんか出来ない But I can't really do that それがなんか出来ないんだって I really just can't do it one sheep, twenty four sheep. あなたも眠れないの？ You can't fall asleep either? count the sheep for sleep.

[manjuhitorie]

what do you think of "beauty for"?

Its so soft and sweet while still having that sour Rie-ness to it LOVE IT

[manjuhitorie]

hello manju ! i made a tumblr account specifically to follow you and to thank you for your hitorie translations. i've been a huge fan for 2 or more years from what i've remembered, and whenever i want to understand the songs even more i came to your website always. it makes me feel happy and comforted whenever i read one of hitorie's works and how it really convey the feelings i've always struggle to understand or accept. every now and then, i read and listen to their lyrics on my daily basis. i'm a huge fan of wowaka's works, and now that i've almost listened to most of his works in hitorie, i'm currently getting into what hitorie is now- and i'm sooo thrilled!! my favorite hitorie will always be the best rock band in my heart and mind. i'm currently working to make a Visual Novel game that's also inspired from a lot of hitorie's songs. to be honest, i'm not really confident with my writing but i want to surpass my limits just like how hitorie did. there are many words i wish to say to fully explain how these change my life and myself. i hope that if ever it gets launch, i can have you to be in the special thanks once the credit rolls <3 once again. i'm forever thankful to you and hitorie. どうもありがとう ♪(´▽｀)

Awawawwww!!!!>!!?! This message makes me want to bawl like a little crybaby..! It really means a lot!!! I’m happy to hear that Hitorie bring you comfort and clarity!! The underlying philosophies and internal conflicts that fill Hitorie’s lyrics would make for such a compelling visual novel WOAH!! If you ever finish it, or even just finish a part of it, I would love to see whatever you make! Good luckk ٩(´ᵕ｀๑)و＊

[manjuhitorie]

Hello i just wanted to thank you so much for your translations <3 You’re amazing and I’m glad you exist

Please take care and remember to drink water

im glad YOU exist and WE exist together to enjoy the riot that Rie incites upon our souls!! Oh no, I DO need to drink water AAAAAAAAAAAA thank youU

[hadranok-but-art]

wowaka tribute o7 lyrics from @manjuhitorie's translation of fuyu-no outfit and background is from sleepwalk mv

[manjuhitorie]

Balloon (Keina Suda) x Hitorie "WOLF" interview - A decade of respect, compiled into one collab song - Music Natalie

バルーン（須田景凪） × ヒトリエ「WOLF」インタビュー | コラボ曲で結実した10年以上のリスペクト - 音楽ナタリー 特集・インタビュー

ボカロP・バルーンこと須田景凪が、ヒトリエを客演に招いた新曲「WOLF」をリリースした。

ボカロP・バルーンこと須田景凪が、ヒトリエを客演に招いた新曲「WOLF」をリリースした。 Upon recieving an invitation from the Vocaloid producer Balloon AKA Keina Suda, Hitorie have made a guest appearance on his newest song "WOLF". 「WOLF」は須田がボーカロイドを用いて制作した楽曲をヒトリエの3人が演奏する形でレコーディングされた。2組は11月30日に東京・ヒューリックホール東京で行われた須田の自主企画「須田景凪 presents "MINGLE" DAY1 合縁」で共演。須田はアンコールでこの曲を初披露した。「WOLF」は来春にリリース予定のバルーン名義の企画アルバム（タイトル未定）への収録も決定している。For "WOLF" Suda employed Vocaloid to sing alongside Hitorie's recorded acoustics. They then went on to perform a show together at Hulic Hall Tokyo, for day 1 of "MINGLE", a series of shows specially curated by Suda. It wasn't until the encore that they unveiled this song for the first time. WOLF is also set to be included as a track in his upcoming album "Fall Apart". 今回のリリースを記念し、音楽ナタリーでは須田とヒトリエのシノダ（Vo, G）、イガラシ（B）、ゆーまお（Dr）にインタビュー。お互いの出会いやボーカロイドカルチャーに対する考え、wowakaとの関係性、新曲に対するそれぞれの気持ちについてなど、さまざまな角度から語ってもらった。 To celebrate its release,Music Natalie has organized an interview with Suda together with the members of Hitorie. To discuss how they met, their feelings towards the culture surronding Vocaloid, their relationship with wowaka, and of course the new song, all from a variety of different perspectives. Interview by Shiba Tomonori Photography by Sotaro Goto

──まずは今回のライブでの共演が決まった経緯を教えてください（※取材は11月中旬に実施）。須田さんから声をかけられたそうですが、その理由は？ —So tell me how you ended up doing a show together (*This interview was taken in October, one month before the show). I heard Suda had made the first move, but what spurred you to do so? 須田景凪　そもそも僕は今まで対バン自体を数えるほどしかやったことがなかったんです。でも、ほかのアーティストと一緒にライブをすることで得られる刺激はたくさんあったし、自分も誰かをお招きしてライブをしたいとずっと思っていました。で、初めての自主企画を開催できることが決定したんですけど、最初に誰を呼びたいかを考えたときに、自分はボーカロイドカルチャーの中で曲を作り始めた人間で、しかもそれ以前からずっとリスナーとして聴いていたヒトリエという偉大な先輩をお呼びして対バンが実現したら、もうそれ以上うれしいことはないなと思って。それで事務所経由でお声がけさせていただいたところ引き受けてくださり、実現しました。 Keina Suda: I’ve only done shows together with other bands enough times to count on one hand, but the excitement those experiences have brought me was something special. So I’ve always wanted to invite someone and arrange a show myself. My personal project has just recently been set into motion, and so as part of that I chose to finally make my wish a reality. The question from there was who to invite. As someone whose roots are in the Vocaloid community and thus deeply respect Hitorie not only as my seniors but as musicians I love listening to, nothing could bring me greater joy than performing alongside them. All that was left was to contact them via their agents and make it happen. ──ヒトリエの皆さんは、須田さんから対バンと新曲のコラボのお話を受けたときはどう感じましたか？ —How did you, Hitorie, feel when Suda approached you? シノダ（ヒトリエ / Vo, G）　純粋にびっくりしましたね。 Shinoda (Hitorie’s Vo/G): Completly and utterly shocked. ゆーまお（ヒトリエ / Dr）　俺個人の感想かもしれませんが、「いつの間にか僕たちは“先輩”になっていたんだな」という正直な実感があって。もしかしたらwowakaはもうちょっと先に感じていたのかもしれませんけど、俺らはコロナ禍あたりを過ぎた頃から「ヒトリエに憧れてた」というような声をリアルに聞くようになったんです。でも須田くんがwowakaと以前から仲よくしていたのは知っていたし、ボカロPとしての活躍もずっと知っていたので、改めてその実感が具現化した感じなんですよね。しかもこんなによく思ってくださるなんてうれしいです。 Yumao (Hitorie/Dr): Personally, it made the realization finally sink in that somewhere along the line we became the seniors that others look up to now. I’m sure wowaka had felt this sensation much sooner than us, but for me it only really started kicking in after the worst of the recent pandemic subsided, and I came to hear people saying “I want to be like Hitorie” in real life. Though Suda is more of a unique case since he was friends with wowaka before, and I’ve known about his Vocaloid music for a long time too, but these facts only served to make the realization sink in even further. I’m so happy that you view us in such a positive light. イガラシ（ヒトリエ / B）　前に偶然お会いしたことがあって、そのときに「好きです」みたいなことは言ってもらってたんですけど、いざライブに誘ってもらえるかどうかって、また全然違う話じゃないですか。そこまでの具体性を持って動いてくれるぐらい好きでいてくれるんだというのを、声をかけてくれたことで実感して。うれしかったです。 ygarshy (Hitorie/B): Suda once told me “I love you” when he and I had coincidentally bumped into each other somewhere, but inviting us to do a show with him is a whole different story.  Liking us enough to do something concrete about it was like a grand slam. I was so flattered. シノダ　僕は「スキップとローファー」が大好きで。須田くんがオープニング曲をやってらっしゃったので「いいな、うらましいな」っていう気持ちをずっと抱いてたんです。そんな須田くんからオファーが来て「マジで？」みたいな感じでした。 Shinoda: I love “Skip and Loafer”. Suda-kun did the opening song for it, so I always felt impressed and a bit jealous of him. When he was the one who sent the offer to us, I was like “The hell?”

──須田さんとヒトリエの皆さんが最初にお会いしたのは、どんなきっかけだったんですか？ —Suda, how did you end up meeting Hitorie initially? 須田　イガラシさんとだけは、さっきおっしゃった通り、以前違うところで飲んでるときに偶然お会いしました。でも、シノダさんとゆーまおさんにはお会いしたことがなかったんですよ。対バンのお話が決まって、そこから渋谷のO-Crestでライブを拝見しました。僕のバンドのサポートドラムがSuspended 4thというバンドのサポートもやってるんですけど、そことの対バンで。そのときには日比谷野音の公演（今年9月に行われたヒトリエのワンマンライブ「HITORI-ESCAPE 2024 10-NEN-SAI～日比谷超絶野音～」）に行かせてもらうことは決定していたので、その前にライブハウスで観たいと思って。そのあとご挨拶させてもらったのが、シノダさんとゆーまおさんとのはじめましてのタイミングでした。 Suda: I met ygarshy first, as mentioned earlier, coincidentally when we were both out drinking. I never had the opportunity to meet Shinoda or Yumao for a long time. After our joint show was confirmed, I went to O-Crest to see them perform: the temporary drummer for my band is also acting as the substitute drummer for the band Suspended 4th, and they were playing with Hitorie that night. Though at the time I had already been invited as well to see Hitorie’s big show (HITORI-ESCAPE 2024 10-NEN-SAI～Hibiya Chouzetsu Yaon～), but I was itching to see them before that. So I first met ygarshy and Yumao there. ──シノダさん、ゆーまおさんの須田さんとの初対面の印象はどうでしたか？ —Shinoda, Yumao, what was your first impression of Suda? シノダ　「なんてさわやかなやつなんだ」って思いました（笑）。 Shinoda: “What a gentle, pleasant guy,” (laughs). ゆーまお　俺も同じことを言おうとしてました。俺たちはやっぱりインターネットがきっかけで集まったわけじゃないですか。そういう界隈で育ってきているから「どんなボカロPが来るんだろう」と思ってたら、ずいぶんサラッとした青年が来たな、という印象がありました。 Yumao: I was going to say the same thing. All of us, even we, Hitorie, all met thanks the internet. I was so curious as to what kind of person, another Vocalo-P of the same community who shaped us into who we are today, would show up. It turned out to be sleek, clean young guy. シノダ　楽屋にさわやかな風が吹き込んできた。 Shinoda: It felt like a gentle breeze brushed through the room when he came in backstage. ゆーまお　さわやかな中にも漂うオタク感、みたいなものをオフ会で測ったりするんですけど、須田くんはとにかくさわやかでしたね。「今っぽいな」と思いました。 Yumao: At offline meetings back in the day I would sometimes encounter people who had this nerdiness to them amidst their gentle aura, but Suda was as gentle as a spring breeze through and through. “So this is what it’s like nowadays,” I thought. シノダ　本当にボカロPなんだろうか、って。 Shinoda: Like, “is this guy really a Vocalo-P?” 須田　初めて言われました（笑）。 Suda: That’s the first time anybody’s ever told me that (laughs). ──逆に、須田さんから見た今のヒトリエの印象はどういうものでした？ — On the other hand, what’s your impression of Hitorie as they stand before you now, Suda? 須田　いい意味で「やっぱりバンドマンの方々だ」と思いました。自分も昔ドラムでごはんを食べようとして、バンドでライブをがんばってた時期があったんですよ。だからわかるんですけど、どのライブハウスにも伝説のバンドみたいな存在っているじゃないですか。そういうレジェンド的なバンドマンの空気ももちろんあるし、それだけじゃなくて、アーティストとしてキラキラしている部分もある。そういうのを初めてお会いしたときに感じました。 Suda: They really give off the vibes of a live musician, in the good way. There was a period in my life when I was trying to make money off of drumming and performing in shows. Which is how I know that most venues have their own resident band. Hitorie not only emit that selfsame majestic aura wherever they go, but they’re brilliant as artists as well. I felt that when we first met. シノダ　ありがとうございます。 Shinoda: Wow, thank you.

「wowakaっぽさ」＝彼の人間性 "wowaka-style" = His Humanity

──振り返っての話も聞ければと思うんですが、須田さんがwowakaさんの曲を聴き始めたのはいつ頃で、どんなきっかけでしたか？ — To go even further back, when and why did you first listen to wowaka’s music, Suda? 須田　自分はドラムをやっていたというのもあって、ニコニコ動画の音楽を聴き始めたのはボカロよりも「歌ってみた」とか「演奏してみた」とかの二次創作からだったんです。その中にもちろんwowakaさんの曲もあったんですけど、当時は曲を誰が作ってるかよりも、誰が歌ってるか、誰が演奏してるかばかり気にしていたんですね。で、2013年4月から自分もボカロを始めて。2012年の年末にヒトリエの皆さんがミニアルバム（「ルームシック・ガールズエスケープ」）を出したとき、たまたまクロスフェードか何かで聴いて、「うわ、これめっちゃヤバい！」とCDショップに買いに行ったんです。それでクレジットを見たら“wowaka”って書いてあって。そうだ、「裏表ラバーズ」とか「ワールドエンド・ダンスホール」とかずっと聴いて知ってた、この曲はこの人だった……というふうにどんどんつながっていったんですよ。だからもちろんwowakaさんの曲を先に聴いてはいたんですけど、自分の中でちゃんと認識したのはヒトリエと同じくらいのタイミングでした。 Suda: This was in part because I had been drumming at the time but, what first drew me to Niconico Douga was not Vocaloid, but the iterative work such as “Utattemita” or the instrument versions of that. So at the time I wasn’t concerned with who wrote the songs, I only cared about who was singing or playing them. Then it wasn’t until April of 2013 that I started writing with Vocaloid myself. Hitorie had released their album Roomsick Girl’s Escape at the tail end of 2012, and upon stumbling into the trailer video or something I was like, “Wow, this is sick!” then went to a doujin shop and bought it. Upon examining the credits I couldn’t help but notice the name wowaka. “Wait, I know Ura-omote Lovers and World’s End Dancehall. So this album is by the same artist, huh….” Therefore I had been aware of wowaka prior, but it wasn’t until Hitorie when it clicked for me.

Keina Suda

──wowakaさんの曲からどんな衝撃を受けましたか？ —What kind of impact did wowaka’s music have on you? 須田　いまだにうまく言えないんですけれど、wowakaさんの曲って、共通して「wowakaさんっぽさ」があるんですよ。何なんだろうっていまだに思うし、自分も10年音楽を作っていてわからないんですけど。wowakaさんじゃないと書けないメロディや空気感がある。いわゆるボカロっぽさってものもあると思うんですけど、その中で突き抜けて「wowakaっぽさ」みたいなものがすごくて。その唯一無二の個性というか、「なんだ、この人の作るものは」という独特な空気感を当時感じていました。それが何か10年以上経った今でもわからない、そういうものがあります。 Suda: Even after all this time I still struggle to verbalize this, but wowaka’s music has this “wowaka-esque” style to it. What exactly does that mean? After a decade of writing music I still can’t quite put my finger on it. There’s this certain overtone and melodic rhythm that only wowaka is capable of writing. Which has been streamlined to be called “Vocaloid-esque” at times too, but the subset of that, wowaka’s specific style is what particularly stands out to me. It had this inimitable quirk to it, of which at the time had baffled me, like “What on earth is up with this guy’s work”. After 10 years I still don’t have an exact answer. ──今、須田さんがおっしゃった「wowakaっぽさ」を、ヒトリエの皆さん的にはどんなふうに捉えてますか？ —Hitorie, what do you make of the “wowaka-esque” style Suda speaks of? * シノダ　なんでしょうね……wowakaみたいな人間っていないんですよね。それがすべてというか。本当にオンリーワンな人だから、ああいう音楽が生まれたんだと思う。抽象的な、大きな話になっちゃうんですけど、僕の考えはそれに尽きますね。 Shinoda: Hmmm….. There’s nobody else like wowaka out there. That’s all there is to it. He was the one and only wowaka, and that’s how he was able to write his own, unique music. This may be an abstract answer that only really puts things into a broader perspective, but that’s all I got. ゆーまお　同じ意見です。普通の人なら「そこまで考えなくていいよね」とか「大丈夫っしょ」「なんとかなるでしょう」とか思ってしまうところでも「なんともならない」のがあの人なんだっていう印象があるんですよね。なんともならないからずっと「なんともならないんだよ！」って言ってるし、「ノリで行こうぜ」ということがない。いい意味でずっと“なんともならない状態”のままでアウトプットされるのが彼の作品で。抱えていることがみんなより重いかもしれない。それが真似できなさみたいなところに現れてるんじゃないかなと思います。 Yumao: I’m of the same opinion. Where most ordinary people would say “Don’t think so hard about it,” or “It’s fine,” “It’ll all work out,” wowaka could never, things never just worked out for him. Or at least that was the impression I got from him. Things seldom worked in his favor so he was constantly saying “It's all wrong!”. Saying “Let’s just go with the flow” was an implausible notion to him. He was constantly pushed into a corner, thus did they pressure reflect his work. He was burdened by something heavier than we could imagine. It’s no wonder we why we struggle to replicate that essence. イガラシ　フォーマットよりも結局はやっぱり人間性の話だと思います。音楽の枠組がwowakaっぽくても、彼自身が持ってるえぐみみたいなものが一番奥にある。そのえぐみが一番のフックになっているような気がしますね。それは結局、僕らが一番近くでバンド活動してたからといって、分析したり再現したりというのは不可能なものだと思ってるし。真似したような、wowakaっぽさを浅い部分だけ再現するような曲を作ることだけは絶対にやめよう、というのが指針として生まれるぐらい「分析はできないな」と個人には思ってます。 ygarshy: I feel like it’s moreso the humanity of the music rather than the structure. The musical framework can be wowaka-ish, but what it truly needs is to have a bitterness at its core. That unadulted sour and bitter human-ness it has to it is the number one hook. Which is why we, his bandmates who worked more closely with him than anyone else, have come to the conclusion that it’s not something we can analyze, dissect, or try to replicate. His music was so indecipherable to the point that we’ve made it a guiding principle of ours to never try and imitate it; trying to recreate his magic using only the shallow aspects is something we’ve vowed never to do.

ygarshy（B / Hitorie）

須田　ですよね。「ロジカルなことではないんだろうな」って、初めてお会いしたときにもすごく感じました。 Suda: That makes sense. I’ve sensed “it’s not something logical” since the first time. シノダ　ロジカルじゃないね。 Shinoda: It can’t be explained by mere logic, yeah. ──須田さんとwowakaさんはけっこう交流があったんですか？ When did you Suda first get in contact with wowaka? 須田　そうですね。初めてお会いしたのは、自分が「シャルル」を投稿した2016年末くらいだったと思います。まだメッセージも一度もやり取りしたことがなかったのに、夜中の0時半とかに急にTwitterのDMで「バルーンくん、はじめまして。みんなで飲んでるんだけど、今からウチ来ない？」って言われて。「行きます！ 絶対行きます！」って向かって、でも着いた頃にはwowakaさんをはじめ、自分にとってはレジェンドのボカロPの方々が全員酔い潰れて誰もしゃべれない状態でした（笑）。それがはじめましてでしたね。そこから何度も一緒に飲んだり、ごはんを食べたりしましたけど、とにかく最初が衝撃でした。 Suda: Let me think. I think it was near the end of 2016, the same year I posted my song, Charles. We had never exchanged messages before, and the first thing he ever sent me was a random DM on Twitter at halfpast midnight, saying “Balloon-kun, nice to meet you. We’re all out drinking together, wanna come join?” I immediately responded with “I’m on my way! I’m so on my way!” Yet when I arrived I came to see not only wowaka, but a bunch of other legendary Vocaloid producers all passed out drunk to the point that they couldn’t talk properly (laughs). That was our very first encounter. We did end up going out to get drinks or food together a countless times afterwards, but the first was still a huge shock (laughs). シノダ　うちのリーダーが迷惑をかけました（笑）。 Shinoda: I’m sorry for all the trouble, on behalf of our leader (laughs). 須田　いやいや、うれしかったです。 Suda: No, no, it made me happy.

wowakaさんは自分世代にとっての“王” wowaka was the King of my generation

──須田さんがボカロPとしての活動を始めたのとヒトリエがメジャーデビューしたのは今から約10年前のほぼ同時期ですが、当時のボーカロイドやネットミュージックのシーンについてはどういうふうに見ていましたか？ —Suda started his Vocalo-P career around the same time as when Hitorie got signed to a label, around 10 years from today. What was the online artistic community like back then, from each of your eyes? ゆーまお　たぶん、当時の俺らはそこまでしっかりとネットの音楽を聴いてなかった気がする。 Yumao: I don’t think we were listening to music on the internet much at the time. シノダ　忙しかったしね。同世代のやつらも、俺たちがメジャーデビューするタイミングとか、それよりちょっと前ぐらいに表に出始めた流れがあって。自分で選んだことなんで流れに乗ったつもりはないんですけれど、そういうのもあって、チャンネルがインターネットに向いてなかったのかもしれない。 Shinoda: We were too busy back then. A bit before we got signed it had been becoming something of a trend at the time for internet musicians to take off their masks. We didn’t intend to chase the trend, we chose to do this ourselves, but we couldn’t not take it into account either. So we decided not to focus our platform solely on the internet, as the climate wasn’t fit for us at the time. ゆーまお　そこからもうちょっと経ったら、それこそバルーンくんとか、n-bunaくんとか、和田たけあきとかが出てきて「すごく聴かれてるな。ボカロっていつの間にまた流行り出したんだろう」みたいなことを思って。自分たちは流行りの中で聴いていた自覚があったんですけど、「あれ？ また戻ってきてない？」みたいなことを2015年とか2016年あたりに感じてました。「終わったんじゃなかったっけ？ 飽きられているものじゃなかったんだ？」という。wowakaともそういう話をしましたね。 Yumao: It wasn’t until after a while that artists such as Balloon-kun, n-buna-kun and Wada Takeaki started popping up. At first I was surprised by how much people were listening to their music. It's true that we were just hopping on the band wagon back during the initial wave, but it wasn’t until 2015 or 2016 that I started to sense another big wave coming on. I was like “Wait, what? Vocaloid is back? It’s not over? People aren’t bored of it?” I know wowaka once talked about this as well.

Yumao（Dr / Hitorie）

イガラシ　ヒトリエの活動が始まってたんで、バンドのフィールドのほうに目がいってた時期っていうのもあるんですけど、あとは単純にネットのシーンは“wowakaのシマ”だと思ったんですよ。リーダーにいろんな仲間がいて楽しくやってくれてたら、僕らはそれでいいと思ってた。自分はあんまり近寄らないようにしておこうと。だからあまり触れてなかったですね。 ygarshy: At the start of Hitorie’s career I focused my efforts on the band sphere, and for me this was partly because I was convinced that the internet sphere was “wowaka’s turf”. As long as our leader had lots of friends there and was having fun, that was enough for me. I didn’t want to interfere and rock the boat. So I didn’t really interact with that community much. ──須田さんとしてはどうでしょうか。バルーンとして活動を始めて「シャルル」を投稿するくらいの頃のボカロシーンにはどういう記憶がありますか？ —Suda, what was it like from your perspective? What memories do you have of the Vocaloid community from around the time when you posted “Charles”? 須田　自分は高校生くらいからニコニコ動画でネットの音楽を聴き始めてハマって。専門的な音楽の大学に入ったんですけど、大学でもライブハウスでも「ボカロなんて聴いてるやつはダセえ」という風潮が強くて、なんなら「J-POPダサい」みたいなところにいたんです。だから周りに「ボカロが好きです」なんて言えなかった。自分の好きなものが言えないもどかしさを抱えながら生きてきて、いざ自分も曲作りを始めようとしたんですけど……それこそ、wowakaさんって自分世代にとっての“王”なんです。その“王”がそこまで培って来たものから形を変えてバンド活動を始めるのって、当時「ボカロが好き」すら言えない自分からしたら、本当になんて勇気のあることをしているんだろうと感じました。それと同時に、すごい自分が恥ずかしくなったというか。自分が愛しているものをやっていくことの美しさみたいなことは、その当時からすごく感じていて。それを一番覚えてるんですよ。自分が須田景凪としての活動を始めたのは2018年ですけど、たぶんwowakaさんがヒトリエを始めた当時のほうがネットカルチャーから世に出ていくことってめちゃくちゃハードルが高かったと思います。相当な勇気や覚悟もいると思う。それは当時の自分では考えられないくらいの衝撃だったんで、そこへの驚きと尊敬みたいなところが記憶として一番大きいですね。 Suda: I started listening and getting into music on Niconico Douga in high school. Then I went on to go to a trade school that specialized in music, and at school or in venues both the populace veered toward the opinion that “Anybody who listens to Vocaloid and crap is lame”, where I was people even thought J-pop was lame. So I could never express how much I liked Vocaloid in public. I think one of the reasons as to why I started writing Vocaloid songs myself was because I had so many emotions pent up from being unable to talk about the things I loved. In that sense wowaka was the “king” of my generation. A king who took the fire they cultivated, and stoked it until they burned bright as not just a musician but also now as a live performer. For me, as someone who at the time couldn’t even say “I like Vocaloid” out loud, I could only imagine how much courage that must’ve taken him. And by that same token, I couldn’t help but feel ashamed with myself. There’s beauty in pursuing the things you love, that much I knew at the time, that much I remember clear as day. I started operating under the name Suda Keina, not just Balloon-P, in 2018 (about 2-3 years later) but I’m pretty sure that the stakes were much higher for a net-based creator to go out into the world back when wowaka and Hitorie did it. So both the surprise and respect I felt towards he and Hitorie both is a memory from that era I remember fondly.

この気持ちが少しでも風化するのが嫌だった I couldn't bear the thought of my emotions fading over time

──「バルーン × ヒトリエ」名義でリリースされる新曲「WOLF」についても聞かせてください。これはどういうとっかかりで作り始めた曲なんでしょうか？ —Tell me more about your newest song “WOLF”, released under the artist name “Balloon x Hitorie”. What was the story behind it? 須田　そんなに詳細をしゃべるべき曲じゃないなとは正直思ってるんですけど……大好きで尊敬する先輩がいなくなって、そのあとすぐに書いたんです。そのときは、今思ってるこの気持ちが少しでも風化するのが嫌だと思って書きました。だから言ってしまえば、どうやってリリースするとか、そんなことは考えていなかった。もしかしたら一生世に出ないかもしれないくらいの気持ちで書いたんですね。 Suda: To be honest, I don’t think I have the right to speak in depth on this subject but… I wrote this soon after the king I loved and respected passed away. I wanted to write it immediately, to preserve my emotions and stop them from ever fading with time. The idea of how or when to release it didn’t cross my mind at the time. I was of the belief that this song would probably never see the light of day when writing it.

Shinoda（Vo, G / Hitorie）

──須田さんとしてもヒトリエをイメージしたサウンドや曲調だった？ —Suda, did you have Hitorie’s style in mind when composing? 須田　そうですね。サウンド感に関しては完全にヒトリエをイメージしていました。だからヒトリエの皆さんが一緒にやってらっしゃるエンジニアの平井（信二郎）さんにもお越しいただいて。録音の段階で自分が10年以上前から知ってる音だったんで、めちゃくちゃテンションが上がったし、いろんな感慨深い気持ちもありながら演奏をしていただきました。でも、サウンド感に関してはもちろんヒトリエをイメージしていたものの、ヒトリエっぽい曲を書きたいと思って書いたわけではなく、当時自分が思ったことを尊敬という形で自然にアウトプットしたものなので。それ以外は細かく寄せていくとか、そういうことは一切なかったです。 Suda: I did indeed. The style as a whole was a nod to Hitorie. I was fortunate enough to be given the opportunity to work with the sound engineer, Hirai (Shinjuro), who is the dedicated engineer for all of Hitorie’s pieces as well. So the recording was different but familiar for me, it’s not my usual but I’ve been listening to his style of mixing for over 10 years now, I couldn’t help but feel giddy. Every part of the recording process was so emotional and powerful. ──むしろ須田さんの中では、自分の素直な思いを書いた大事な曲だったんですね。 —It truly is a song you poured your heart and soul into. 須田　こう言うと誤解が生まれちゃうかもしれませんけど、リリースできなかったとしても、別にそれはそれで構わないというか。どれだけ聴かれたいかという曲じゃなくて、どれだけ自分の思いやエゴを凝縮できるかみたいな曲ですし。こういう巡り合わせが来なかったら別に世に出なくてもよかった。それくらい大事な曲なんで、結果としてヒトリエの皆さんに演奏していただいて、考え得る最高の形になってうれしいです。 Suda: I don’t want people to take this the wrong way, but, even if this song never saw the light of day I wouldn’t have been fussed. It’s not a song I wrote for the sake of a message I wanted to share with the world or anything, I wrote it just see how much of my emotions and “self” I could compress into one song. If fate had never brought Hitorie and I together, I never would’ve bothered to release it. It’s just that special of a song to me, and that’s exactly the reason why I’m so happy I was able to get Hitorie to perform the instrumentals for me and forge it into the best possible piece of art it could be. シノダ　ありがとうございます。 Shinoda: Thank you.

変わらず十何年も背中を見せてくれる先輩へ They who I keep on aspiring to be

──ちなみに先日ヒトリエはwowakaさんが作詞作曲した「NOTOK」をリリースしました（参照：ヒトリエ「NOTOK」インタビュー）。これについて須田さんはどんな感想を持ちましたか？ —Hitorie have also just recently released “NOTOK”, a song written and composed by wowaka (Link to the NOTOK interview). What did you think of it, Suda? 須田　日比谷野音のライブで初めて聴いたときに、さっき言った「wowakaっぽさ」をすごく感じて。それが懐かしいし、うれしいし、寂しいし、いろんなことを感じたんです。それがwowakaさんのボーカル音源でリリースされて、素直にしみじみしちゃいました。作る側として、どういう意図を持ってアレンジしていったんだろうみたいなことも考えましたし。もちろんカッコいいし大好きなんですけど、ひと言で「カッコよかったです」と言っていいのかな、という繊細さもあるし……いろんなことを考えましたね。 Suda: When I first heard it during their show at Hibiya Yaon, I yet again felt that “wowaka-style” energy we discussed before. It made me feel so nostalgic, so happy, so lonely, so ambivalent. Then upon hearing the version with wowaka’s vocals, it made my heart heavy, to be honest. I began to wonder what he must’ve had in mind when he arranged it. Of course the song is so cool and I love it but, it also feels too complicated and tender of a piece to simply call it “cool” and leave it at that. So it really got me thinking. ──最後に、お互いこの先に期待することを聞かせてください。 —Finally, tell me what you think the future will hold for your relationship? シノダ　今回、すごくいい機会をいただけたなと思うんですね。感謝してますし、こんな俺たちでよければひとえにこれからも仲よくしてね、って感じです。 Shinoda: This has been a wonderful opportunity for us. I’m so thankful, and if possible I would love to continue on cultivating this friendship. ゆーまお　なんというか、今はアンダーグラウンドとオーバーグラウンドの境目があまりなくなってきましたよね。これからも一緒にそういう時代を作っていきたいです。須田くんが「ボカロが好きだ」と言えなかったように、そういう肩身の狭いところから俺たちの音楽は始まってるので。この感覚を共有できる仲間が今たくさん外に出ていける時代になったので、それを続けていこうぜと思います。 Yumao: How do I put this… These days the line between underground and overground music is blurred. And that’s a generational change I want to keep on contributing to. Our music started back when shame was the norm, where people like Suda felt too embarrassed to admit their love for Vocaloid. But nowadays people like us are unshackled, and I want it to stay this way. イガラシ　須田くんはボカロシーンとか何かの流れに乗って歌ってるわけじゃなくて、表に立つことの覚悟とか熱を感じるんですね。だからこそwowakaのことが好き、ヒトリエのことが好きと言ってくれる言葉がすごくうれしいです。ぜひこれからも一緒にやっていけたらうれしいです。 ygarshy: I know Suda-kun isn’t out there singing because he’s trying to chase the crowd, he does it with confidence, with a passion. Which is why it makes me all the more happy when he says he likes wowaka and Hitorie. And I’d be even more happy if we could keep on being friends. ──須田さんからはいかがですか？ —What about you, Suda? 須田　ボカロ文化はよくも悪くも、いつ抜けても辞めてもいい世界っていう雰囲気が当時からあったと思うし、自分にとって直属の先輩と言える方ももう数えるくらいしかいないんですよ。その中で、ヒトリエは変わらず十何年も背中を見せてくれる数少ない先輩なんで。これからもずっと追っていきたいなと思っています。あと僕はお酒が弱いですが、一緒に遊んでもらえたらうれしいです。これからもずっと最前線でリスペクトしていきます。 Suda: For better or worse, I always got the sense that the Vocaloid community is a place where people are free to come and go as they please, you can quit whenever you want. But that also means there’s not many people left who have been in this community for as long as I have now, or who started before me. Hitorie are one of the few people who I can look up to; who have been making me chase after them for decades now. I never want that to change. Also I may be unable to hold my alcohol but I’d love to hang out more. I’ll keep on respecting and watching you guys from the front row seats.

[manjuhitorie]

Keina Suda (Balloon) x Hitorie - WOLF - Lyrics English Translation

世界が終わる前に　 Here at world’s end’s doomsday 君と With you その牙なら　 With those fangs of yours その全てを I’m sure getting through anything 貫いてしまうだろう Would be a cinch for you その姿が You look so 美しくて Beautiful 胸が痛いんだ That it hurts 何を抱えて Burdened by something 何処へ歩いていく As you head towards somewhere someplace さらば！また会えると信じて　　　 So long! This won’t be the last time we meet so long as we keep the faith 世界が終わる前に Here at world’s end’s doomsday 君と強がって生きていたい Oh to live out the last of my days putting on a brave face with you 傷付け合おうとも Even if we both hurt each other 悲しい雨はきっと I’ll be of the belief that 君が降らせているんだって Any tears that rain down will be yours そう思ってしまうよ For you’re the one who’s hurting the most その愛という Hidden deep beneath 言葉の裏面 The layers of the word called love 誰が棲みついている Someone has made their den 壊れそうな And they’re screaming 声で叫んで Sounding like they’re on the verge of collapse 否応、謳うんだ As they declare their choice 目を醒ましたら I’m worried that, if I sober up, 消えてしまいそうで Everything will be gone so 獣みたいに吠えてくれよ！ Howl out like a beast for me! 心ひとつを分けてくれよ！ Share your feelings with me! 世界を拒む前に Before we reject the world entirely 君と転がって生きていたい Oh to live out the last of my days rollin’ with you 息が止まろうとも Even if your breath gets taken away 孤独と踊らないで Don’t let the loneliness be your dance partner 君が弱く笑えたなら As long as you’re there smiling, however weakly, そう願ってしまうよ That’s all I’ll ever need 世界が終わる前に Here at world’s end’s doomsday 君と強がって生きていたい Oh to live out the last of my days putting on a brave face with you 傷付け合おうとも Even if we both hurt each other 悲しい雨はきっと I’ll be of the belief that 君が降らせているんだって Any tears that rain down will be yours そう思ってしまうよ For you’re the one who’s hurting the most せかいがおわるまえに Here at world’s end’s doomsday きみと With you こどくとおどらないで Don’t let the loneliness be your dance partner きみが Oh you

Footnotes: The art/title seems like a reference to Hitorie's album HOWLS, and the way the last chorus is written totally in hiragana, not kanji, may be a reference to Senseless Wonder.

[manjuhitorie]

Hitorie - Minikui Katachi - Lyrics English Translation

Minikui Katachi/Dysmorphic/Lit. Ugly Shape 君は冷たく、熱くて、雨曇り You’re cold, hot, cloudy with a chance of rain こんなのって教室で終えて来た筈でしょう Shouldn’t we have left this all behind in the classroom 掛け違い Different paths never meant to cross again

季節が僕らを追い越して、 The seasons pass us by たくらみは全てゼロになる All of my plans have been sent back to square one 画面の中で君は笑っていた On my screen I see your smile, long gone

I feel dysmorphia 言えない、言えない、言えない I can’t say it, I can’t say it, I can’t say it それはとても綺麗な言葉 I want to say words oh so beautiful 嘘みたいに眩しくて Words so bright and pure that they almost seem like a lie ああ、醜い、醜い Ahh, ugly, so ugly 僕が声に出してしまえたら If I only I could blurt them out loud 救われてもいいんだって。 Then maybe just maybe help would come.

ああ、醜い醜い醜い醜い醜い醜い僕は Ahh, ugly ugly ugly ugly ugly ugly I'm ああ、醜い醜い醜い醜い醜い醜い僕は Ahh, ugly ugly ugly ugly ugly ugly I'm ああ、醜い醜い醜い醜い醜い醜い僕は Ahh, ugly ugly ugly ugly ugly ugly I'm ああ、醜い醜い醜い醜い醜い醜い僕は Ahh, ugly ugly ugly ugly ugly ugly I'm ああ、醜い醜い醜い醜い醜い醜い僕は Ahh, ugly ugly ugly ugly ugly ugly I'm 僕は I'm

I feel dysmorphia 言えない、言えない、言えない I can't say it, I can't say it, I can't say it それはとても嫌いな言葉 I can't say those words that I can't stand 嘘みたいに卑しくて Words that are as shallow and vulgar as a lie ああ、醜い、醜い Ahh, ugly, so ugly 僕が声に出してしまったら If I only I could blurt them out loud でも駄目なんでしょう？どうせ But I can’t, can I? Even if I wanted to

消えたんだとさ、ほらね。 'Cause they’re already long gone, see. 今、犯行時刻23:58 Right now, the time of the crime is 23:58 愛も恋も裏っ返しだ。 The dark side of both love and amour. 僕が彷徨う森の方位磁石が回る In the woods I wander with the compass spinning 君に齧られた歯形だけが The bitemarks your teeth left on me are all I have left あたかも傍に居るかのように They make me feel as if you’re still here with me

ああ、醜い醜い醜い醜い醜い醜い僕は Ahh, ugly ugly ugly ugly ugly ugly I'm ああ、醜い醜い醜い醜い醜い醜い僕は Ahh, ugly ugly ugly ugly ugly ugly I'm ああ、醜い醜い醜い醜い醜い醜い僕は Ahh, ugly ugly ugly ugly ugly ugly I'm ああ、醜い醜い醜い醜い醜い醜い僕は Ahh, ugly ugly ugly ugly ugly ugly I'm

----------------------------------------------------

Footnotes/trivia:

● The JP for dysmorphia is "身体醜形障害", a term with "醜形" in the center, which could also be read as 醜(い)形.

● Radio comment (https://hfm.jp/topics/23213/): When appearing on the Hiroshima based radio program "GOOD JOG" (April 9th 2026) Shinoda was asked why he used the word "dysmorphia". He answered with "one of the reasons was simply because the syllables fit perfectly into the melody" but also, more importantly because he's struggled with dysmorphic complex his whole life. Yet at the same time if he didn't suffer this, he believes that he never would've become the person he is today, he never would've pursued band music nor picked up the guitar or microphone. "It's ironic and self-contradictory, but it is how I am, and deep down I believe that people like me, who hate themselves yet simultaneously want to put themselves out there ain't so bad. We gotta keep on kicking."

● MV comment (https://natalie.mu/music/news/651049): 「みにくいかたち」は作詞作曲を手がけたシノダ（Vo, G）曰く「スリーピース形態のヒトリエとして次のステージに行くにはどうしたらいいだろうと試行錯誤する際に生じた無数の引っ掻き傷の中に少し奇妙な形のものがあって、 その形に惹かれたまま誘われるように生まれた。According to the singer songwriter of Minikui Katachi, Shinoda (Vo, G) “Much trial and error was involved in figuring out how best to take Hitorie on to the next stage of our career, and countless scrapes and scratches entailed. Yet somehow within the pain we found something strange, something with a bizzare shape. A shape so bizzare it captivated us, drew us in, and thus did this song come to be." The album art was also drawn by Shinoda as well.

● Fanclub content, Radio Atelier vol 2. (2025.12.24) (https://www.hitorie.jp/movies/122805):

Shinoda: We're here to discuss Minikui Katachi, so come on, let's get into it! Yumao and ygarshy: …. Shinoda: You guys are very timid when it comes to talking, eh. Yumao and ygarshy: Uhh.. yes. Shinoda: This reminds me.. I remember I had worked my ass off getting the full version of this song done, then finally sent "I finished the new song!" in the LINE group chat, yet you guys, untalktative and timid as you are, just ignored me for hours and hours on end. Yumao: That's, uhm, well.. ygarshy: Well… maybe your timing was the problem. Shinoda: I don't know about that.

Yumao: But like uhh… doesn't this happen all the time? This isn't a scenario specific to this song. We always leave you hanging for a while. Probably. Shinoda: Hey, what the heck. Yumao: Many things happened leading up to the making of this song, so... if you were to bring up one of those many stories I would go "Oh yeah!" and get excited. But uhm… isn't us ignoring you for a while how it always goes down with every song… ygarshy: It's Shinoda's fault for always being unlucky and having unfortunate timing. Shinoda: Hold up hold up! (Baffled chuckling) It's my fault? It's on me? ygarshy: Your messages just never sync up with our free time. Shinoda: I posted it in the evening, remember? ygarshy: "Posted?" You refer to sending chat messages as "posting"??? Shinoda: Whatever, you get what I mean! Yumao: Ahahaha. Shinoda: Anyway I remember being absolutely pooped when I sent it. Yet! An hour or more went by and Nobody had reacted at all. You all just one by one me on read. Yumao: This was after you had posted it, yeah…? Silence ygarshy: Haha “posted”.

Shinoda: Oi oi, Yes, this was after I posted- I mean sent it. I double checked that it properly sent and everything!! Yumao: Okay okay. Then what happened. Shinoda: Well. It was right after a show when I had sent it, so I had just assumed that everyone was pooped like me. So I went to wind down a while. I was going to abstain from a drink but then craved it too much before I lazed around a while longer. Soon 3 hours more had passed. And yet still no response from ANY of you bastards. ygarshy: Hmm. So how did that make you feel? Itchy and impatient? Yumao:  You felt like screaming “Pay attention to me!”? Or rather, "React already!" Shinoda: Well, yeah, because it was a song I sent, not just any old thing. A song with the potential to be our next single album. Yumao: Ahh yeah. Something important to our life. Shinoda: Exactly! Without this we can't eat, y'know. ygarshy: It's important, and that's exactly why it's hard to respond. I can't just reply willy nilly to your "posts". Especially when you "post" at weird times. Shinoda: Hey, stop repeating the word post (laughs). But you could at least give me a "Thank you" or "Good job" or "Go get some rest now you earned it" or something! ygarshy: Oh, so that's an option? Yumao: So like, we don't need to give you our detailed opinion? Just a quick bit of recognition is enough? Shinoda: We'll mesh out the nitty gritty later anyway. How do you think I felt when my cellphone went bzzzt. I got so excited only to see that it was an ad notification. Then bzzzt again, it was LINE News, not a reaction… In the end our boss was the one who grew impatient and reacted first out of pity! Yumao: I'm sorry, that was wrong of us… I know this instance with Minikui Katachi wasn't the first time either. And to be honest, whenever you post your- Shinoda: We're just sticking with the term post now huh. Yumao: Ahaa. Whenever you post your new songs in the group chat, this happens. I kind of had a feeling you would start sulking upon getting no response from anyone for a while, you do every time. And lo and behold, you really did sulk. Shinoda: Hahaha. Yumao: The problem is that I always do in fact see your songs right away, but I'm never really in the perfect environment to listen to them. A whole new song deserves you a proper, well thought-out response. But now I know how antsy I made you feel. The fact that you prioritize speed has been input into my database. Shinoda: Haha. No, no, it's alright, I get it, it was late and you were busy and all. Yumao: Well, no… Shinoda: Why are you denying that. Yumao: Uhm…. ygarshy: Well. It's not as if I was busy or had plans. Sometimes I just don't feel like listening to it. At all. Shinoda: What the hell! Shinoda and Yumao burst into prolonged laughter. Shinoda: The song that I spent sleepless nights (laughing) racking my brain over, FOR YOU GUYS (laughing), is something you just "don't feel like listening to"!?!? ygarshy: Not in that moment. I need to prepare myself to listen to it properly. Now isn't the time, yet. Yumao: It's the wrong time and place for him, okay. The conditions need to be met. Okay?! Shinoda: That's new one! I see. It takes a while for your mental state to be in the correct zone for listening. ygarshy: In that sense, I'm sorry I guess. Shinoda: What the hell is "in that sense" supposed to mean? Hahaha. So I'm in the wrong for being unlucky because the timings of my posts always never match up with your momentary conditions!? Oi oi oi! ygarshy: Always. Shinoda: Always! Ahaha. Hahaha! Can I get mad at this guy? Yumao: But look you're laughing. If you were mad you wouldn't be laughing so hard. You would be having a serious conversation. Shinoda: True, true! ygarshy: Thank you, I'll listen to it later! Shinoda & Yumao: That's more like it!!! Shinoda : Anyway, we finally performed this song live recently, what was that like for you guys. Yumao: uhmm. Hard. Shinoda: Yeah, hard. ygarshy: It's like "Parts": the song. There's lots of separate moving parts.

Yumao: It's very rich and punchy, so the question of how to fit this piece into our setlist of already well-established songs is still up in the air. I mean it's always a bit of challenge for every new song, and we always make it work somehow but like. Even now I still can't quite make sense of how our reasoning for works. Shinoda: Yeah, I don't know either. It doesn't make much sense to me either. The song itself is hard to wrap your head around in the first place. Yumao: It's a toughie for sure. Shinoda: But I wanted to make something with a 4th verse, an extra hook. ygarshy: It's great though. Yumao: I love it, that extra hook after the chorus. Sing it for us, 1, 2, 3, 4! Shinoda: Nooo, I'm not singing it. If you loved it then you should've replied that to me ygarshy: Didn't I mention how I love the melody? I thought I did. Shinoda: You mentioned it uhh never. ygarshy: Oh… Yumao: Though I do remember that in the first phase of development I had mentioned that I wanted the song to be a bit more pop. This I had concluded after giving the song a proper listen and thinking carefully on it. Shinoda: Oh, that you must've done at "the right time", under the "perfect conditions" I'm guessing. Yumao: It was though! ygarshy and I had discussed it, him and I, together after we got into the right mind space. We felt that the song was a challenging piece, in the good way, but that it might be good for the chorus to be pop to balance it out. But we had to figure out how to propose our feedback in a way that "mister SND", as the fans call you, would approve of. We had to be, uhh, careful not to walk on eggshells, so as not to piss you off.... Shinoda: Hahaha! Thank you.

[manjuhitorie]

What did Hitorie, wowaka and Vocaloid bring to the band scene? With their first Miku Symphony on the horizon, it's time to reflect upon their 10 year journey - Real Sound Interview

Original: https://realsound.jp/2025/10/post-2166627.html Interview/Text by Tomohiro Ogawa, Photography by Takashi Ikemura 2025.10.03

昨年から今年にかけて、メジャーデビュー10周年という大きな節目を迎え、それを記念したさまざまな企画を繰り広げてきたヒトリエ。wowakaが作ったバンドは、彼がいなくなったあとも、シノダ（Vo/Gt）、イガラシ（Ba）、ゆーまお（Dr）の3人によって進化とアップデートを続けている。 Fresh off of the milestone of the band’s 10th anniversary and the wide array of shows, celebrations, and announcements that thus followed, stand Hitorie. Even after the loss of the band’s founder, wowaka, Shinoda the now vocalist/guitarist, ygarshy the bassist, and Yumao the drummer continue to innovate and update the band to this day.   今年リリースされた3人体制で3作目となるアルバム『Friend Chord』は、この3人のヒトリエのグルーヴとコンビネーションが早くも最初の成熟を迎えていることを物語る、充実した作品だった。そんな今だからこそ、過去を振り返ることにも意味がある。この度、VOCALOID楽曲をフルオーケストラで演奏する『初音ミクシンフォニー』の10周年記念公演、その横浜公演と神戸公演にゲスト出演することが決定したことを契機に、改めて彼らにこの10年の歩み、そしてそのなかでヒトリエを突き動かしてきた思いを語ってもらった。（小川智宏） In the year 2025 Hitorie released “Friend Chord”, their 3rd album since becoming a 3 piece band, which served to thoroughly illustrate their newly ripened grooves and sequences. Now, after coming so far, looking back upon the path they’ve walked is more important than ever. In that vein, to commemorate the coinciding 10th year of “Hatsune Miku Symphony”, the Vocaloid music by a full philharmonic orchestra, Hitorie are set to make a guest appearance at both the Yokohama and Kobe concerts. Thus have I taken the opportunity to ask Hitorie about their 10 year journey, and what spurs them to continue pushing forward. (Tomohiro Ogawa)

――今回の『初音ミクシンフォニー』出演のオファーを受けて、どんなことを感じましたか？ --Upon receiving the offer from Miku Symphony to perform, how did you feel? ゆーまお：大丈夫かな？　と思いました（笑）。ロックバンドなので。Yumao: I was like, “Is it really okay for us to be doing this?” (laughs). We’re a rock band after all.  シノダ：オーケストラっていうカッチリしたところに、僕らみたいなライブをやっているバンドが交われるのかなって（笑）。 Shinoda: It’s supposed to be a symphony orchestra and sophisticated and all that, so we’re worried about how we will fit in (laughs). ゆーまお：だから、ちょっとイメージできていない状態で今現在も過ごしています。こんな感じになるっていうアレンジのデモ音源を聴かせていただいたんですけど、それでもどうなるのか想像ができない。実際にやってみないとわからないですね。 Yumao: I still can’t quite picture how it’s going to turn out. The Miku Symphony people showed us a sample of how they want the orchestral remix to sound yet I still struggle to imagine it. But we’ll never know until we try. イガラシ：でも、すごい素敵なお話をいただけたなとは思いました。誰にもできる経験じゃないと思うので本当にありがたいなと思っているし、すごく楽しみです。 ygarshy: Nevertheless, we’re honored to have been offered such a wonderful opportunity. It’s not an experience that just anybody gets to have, so we’re so so thankful, and so so excited. 

――今回、「アンノウン・マザーグース」と、メドレーで「裏表ラバーズ」「ローリンガール」「アンハッピーリフレイン」「ワールズエンド・ダンスホール」が演奏されることになっています。 —“Unknown Mother Goose”, along with “Two-Faced Lovers”, “Rolling Girl”, “Unhappy Refrain”, “World’s End Dancehall”, are to be made into a medley for the show. シノダ：磐石のラインナップですね（笑）。 Shinoda: It’s really a boulder of a lineup (laughs).  イガラシ：「裏表ラバーズ」はヒトリエで1回だけライブでやったことがあるぐらいなんです。 ygarshy: We’ve performed “Two-Faced Lovers” live as Hitorie only once before. 

シノダ：そう、吉祥寺のCLUB SEATAというライブハウスで。 Shinoda: Yep, at the tiny venue in Kichijouji (Tokyo) called Club Seata.  イガラシ：それもVOCALOIDにまつわるイベントだったんで、その日しかできないことをやろうっていうので、特別にその日のために練習してやった記憶があります。 ygarshy: That too was a Vocaloid-centric event, so I remember we had practiced the song specifically just so we could do something special for that day. 

シノダ：2回目が今回の『初音ミクシンフォニー』だから、開きがありすぎる（笑）。 Shinoda: And now our second time ever playing it is going to be at Hatsune Miku Symphony of all places, the difference in scale is insane (laughs).

――それ以外の3曲はライブでも結構やっていますよね。 —However the other 3 songs you perform often, correct? シノダ：やってますね。でも「ローリンガール」とか「アンハッピーリフレイン」とかは同期を使わずに3人だけでやる形にしているので、単純に俺が死ぬほど忙しいんですよね。リフ弾いてエフェクターをわーってやって……だからわけわかんないなっていう印象しかない（笑）。 Shinoda: We do. Though, nowadays we still play both “Rolling Girl” and “Unhappy Refrain” the same way we always have, except now it’s only us 3. We didn’t adjust it to fit out current setup or call in a support guitar or anything so, to put it bluntly it’s so god damn hectic. I gotta play the riffs, I gotta go crazy with my pedals…. The whole schebang. So for me these 2 songs are just me bullshiting my way through ‘em (laughs). ――そもそもwowakaさんが書いた時点で、人が歌うことはあまり想定されていなかったでしょうしね。  —When wowaka-san wrote those songs I’m guessing he didn’t exactly write them with the idea of real people singing them in mind.  シノダ：まあ、だからこそヒトリエに俺が呼ばれたんだろうなと思いますし。最初は僕のいない3人でヒトリエをやってたんで、そりゃギターもう1本いるわ、っていう。 Shinoda: Well, yeah, I think that’s why he had summoned me for Hitorie in the first place. Hitorie originally were only a 3 piece band as well, and at this point I totally get why they needed another guitar.  ――シノダさんがバンドに加入したのが2012年ですよね。そして2014年にメジャーデビューを果たして、昨年ちょうど10周年を迎えたわけですが。 —Shinoda-san, you had joined the band back in the year 2012. Then in 2014 Hitorie got signed to a major label, and hit your 10 year mark just last year.  シノダ：もうそんなになるんですよね……。 Shinoda: Time really flies….. ――10周年ではいろいろメモリアルなこともやりましたが、改めてそれだけの長い時間バンドを続けてきたという実感はありますか？ —You’re bound to have made countless memories in these 10 years, which makes me wonder, does it feel as if much time has passed to you? シノダ：そうですねえ。何かひとつのことが10年以上も続いたことなんてないので。意外と根性あるなあ、と自分では思います。結構意地でやってる部分もあるし。 Shinoda: I definitely feel it. I had never stuck to one thing for more than 10 years before. My own fortitude surprises even me. Especially because we’re partly only still here trucking because we’re stubborn and can’t give up.  ゆーまお：なんか、意外と長く続けられてるなあっていう実感が湧いたのが結構最近で。主観だからなんでしょうか、あまり長いことやっているようなイメージを自分では持っていないんですよね。時間をかけた結束力みたいな文脈って、少なからずどのバンドにもあるじゃないですか。それが自分たちにもあるかもしれないなんて思ったのが去年、今年くらいなんですよ。 Yumao: The fact that we’ve been doing Hitorie for a long time now only really sunk in recently for me. It doesn’t feel as if it’s been that long, or maybe that’s only because I can only really view myself in a subjective light. Bands that grow tight knit over the years are a dime a dozen out there. Yet it only just hit me that maybe we too have a strong bond like that too, around late last year, or more like the start of this year.  シノダ：そうだね。 Shinoda: Yeah.  ゆーまお：新参者の気分でいたし、そういうふうに続いているバンドとしては見られてないんじゃないかなって勝手に思ってたんで。でもヒトリエに影響を受けたっていう後輩たちが現れたりとか、そういうのが具体化されてきて、自分たちのことを客観視するようになりましたね。 Yumao: I forever felt like a newcomer, and automatically assumed that we were never perceived as a tight knit band. Yet now that I have juniors who were inspired by Hitorie popping up, and the reality of our influence is physically manifesting, it finally made me snap out of it and see us in an objective light. シノダ：10年前はルーキーだったもんね。 Shinoda: We were rookies 10 years ago.  ゆーまお：だし、同期だった人たちも意外とみんな辞めてるし。そう考えるとわりとやってるなとは思いました。 Yumao: That, and not to mention a lot of people who started around the same time as us have long since quit or left the scene. We really have been at this for a long time.  ――先ほどシノダさんのお話にあったとおり、最初はwowakaさん、イガラシさん、ゆーまおさんの3人で「ひとりアトリエ」というものを始めたのが現在のヒトリエのスタートラインで。それが今から13年前なんですけど、当時、ボカロPとして活動していたwowakaさんから「バンドやろう」って声をかけられたときの最初の印象ってどういうものだったんですか？ —As Shinoda had mentioned before, the Hitorie we see today found their humble beginnings as only wowaka-san, ygarshy-san, and Yumao-san, originally under the title of “Hitori-Atelier”. That would be 13 years ago from today, but what did it feel like being approached by the then Vocaloid producer wowaka-san about being in a band? ゆーまお：最初は「コピバンやろう」みたいな勢いだったんですよ。ふたりいっぺんに声をかけられたんです、ライブハウスのバーカウンターで。「NUMBER GIRLのコピバンをやりたいから一緒にやろう」って。 Yumao: At first it was in the same spirit as doing a fun cover band together. He had approached ygarshy and I simultaneously at a bar counter in a venue. “I want to do a Number Girl cover band so let’s do this together,” he said. 

イガラシ：それ、覚えてないんですよね。wowakaが言ってたの？ygarshy: I don’t remember that. wowaka really said that? ゆーまお：言ってた。俺らふたりで飲んでて―。 Yumao: He did. You and I were drinking together--. イガラシ：それは覚えてる。 ygarshy: That I do remember.  シノダ：会話に参加してなかったの？ Shinoda: Maybe you hadn’t joined in on the conversation much? ゆーまお：参加してたよ（笑）。喋ってた。「やろう、やろう」って。Yumao: Oh, he did (laughs). Surprisingly enough was actually chiming in, saying “Let’s do it, let’s do it.” イガラシ：それは覚えてるんだけど、NUMBER GIRLの文脈だけ全然覚えてない。 ygarshy: That part I remember but, I don’t recall mentioning Number Girl at all.  ゆーまお：もともと、イガラシとふたりで「バンドできたらいいよね」みたいな話はしていたんですよ。楽しそうだよねって。そこにwowakaが声をかけてきた。それぐらいの軽い感じだったんです。 Yumao: ygarshy and I had been talking about how we wanted to be in a band together one day, about how fun that would be. That’s when wowaka chipped in. It was that level of casual.  ――確かに、「NUMBER GIRLのコピバンやろう」っていう声の掛け方は、遊びというか、気楽な感じだったんですね。 —Approaching you saying “Let’s make a Number Girl” sounds like something kids would do for fun, or something laid-back.  ゆーまお：そうそう、気楽にみんなでスタジオ入りたい、みたいな。そういうニュアンス、感じ取らなかったですか？ Yumao: Yep yep, it was there where we simply casually decided to go to a studio together. Or, those were the vibes at least, did you not get that sense? イガラシ：そうだっけ。結構熱い話もしてたよ。wowakaは「自分で歌いたい」と言っていて、その印象のほうが強かった。 ygarshy: I’m not sure. I got the sense that the conversation was pretty passionate. wowaka was so eager about singing himself, with his own voice, and that really stuck with me.  ゆーまお：wowakaは自分の横並びのボカロPとか作家さんたちが自分で歌っているかっこいい姿をライブで観ていたわけじゃないですか。それがたぶん羨ましかったり、悔しかったりしたんだと思うんですよね。その意思を結構汲み取った記憶があります。「俺だってやりたいんだ」みたいな。脚光を浴びないところでやっていたはずなのに、表に出たらみんな歌がうまくて、なんかキャッキャ言われてて、「許せねえ」みたいな（笑）。 Yumao: At that point wowaka had witnessed many of his fellow Vocaloid producers and creators get up on stage and belt their hearts out. He was probably jealous, even frustrated with himself. I have a clear memory of me sympathizing with his burning passion. He knew he too was capable of doing what they were doing. Vocaloid culture generally concentrated on the creator not standing in the limelight, yet when these creators came out from behind the veil it turned out they were actually fantastic singers, which laundered them lots of praise and attention. So it kind of felt like “No fair, damn you!” (Laughs). ――なるほど、「俺もやってやるぞ」っていう。 — I see. So wowaka was like “I’ll show you what I can do too!”  ゆーまお：そう、「俺もやるぞ、だから一緒にやろう」みたいな。 Yumao: Yep, like “I’ll show them all, so come along with me.” シノダ：「絶対俺のほうがすげえし」みたいな感じは絶対あっただろうなと思う。 Shinoda: Definitely a bit of “I’m way better than those guys” too.  ゆーまお：その場にいなくてもわかるでしょ？ Yumao: You weren’t there, yet you hit the nail on the head? シノダ：わかる。思わないわけがない、あの人が。 Shinoda: There’s no way our leader wouldn’t have thought something along those lines after all.  イガラシ：ちょうどwowakaは『アンハッピーリフレイン』っていうアルバムを出した後ぐらいのタイミングだったと思うから、VOCALOIDで曲を発表することに対してある程度の手応えはあったんだと思うんです。でもいちばんは結局生身で歌ってるバンドに憧れていて、それがうまくできなかったっていうところからVOCALOIDをやってたところもあるから、バンドでもう一度やっていきたいという思いがいちばん高まっていた時期だったんだと思いますね。 ygarshy: This was a short while after wowaka had released his album “Unhappy Refrain” so he was gaining traction via using Vocaloid to bring his music to the world, and was likely satisfied with it. But deep down he admired bands who performed with their own flesh and blood. The troubles involved with following that dream are what initially led him to explore the potential of Vocaloid, so it’s no wonder that at this point he was raring to try and chase his original dream again.  ――実際、wowakaさんはヒトリエが始まってから「アンノウン・マザーグース」を2017年に出すまで、しばらくVOCALOIDの曲は作っていませんでしたよね。 —It’s true that he didn’t touch Vocaloid at all in the window between wowaka starting Hitorie until releasing the song “Unknown Mother Goose” in 2017. シノダ：そうですね。 Shinoda: Yes. ――あの曲は初音ミクの10周年のタイミングでリリースされたんですが、その間、ヒトリエ、そしてwowakaさんとVOCALOIDの距離感ってどういうものだったんでしょう？ —That song was released specially for Hatsune Miku’s 10th anniversary, but did you ever get the impression that prior to this song wowaka had been purposefully distancing himself from Vocaloid? シノダ：あの頃「バンドになろう」って必死だったんですよね。 Shinoda: He was too dead set on being in a rock band. 

ゆーまお：うん。あまり覚えてないですけど、wowakaがそういう文化を避けてる節もあった気がするんです。 Yumao: Mhm. My memory is a bit foggy here, but I did somewhat get the sense that wowaka was avoiding the culture as a whole.  シノダ：あったかもね。 Shinoda: Agreed, yeah. ゆーまお：だから、「アンノウン・マザーグース」を作るってなったときは「よかったな」って思いました。1回言い始めたら頑固で、誰かが説得するかしない限り戻ってこないタイプですし、VOCALOIDでまた曲を作るっていう壁は結構デカめだったんで。 Yumao: Which is why I felt so relieved for him when he finally decided to write Unknown Mother Goose. He’s the type who becomes hell bent on his decisions once he’s made them, and would’ve never come back unless someone convinced him otherwise. Picking up Vocaloid again was a huge wall for him.  イガラシ：俺らがどうこう言えることでもなかったしね。 ygarshy: We didn’t have any sway over him either.  ゆーまお：だから作るって言った時に作るんだと思いました。 Yumao: The only thing I knew for sure was that once he decided to write that song, come hell or high water he would write that song. ――「バンドになろうと必死だった」っていう話がありましたけど、それは今にして思えばどういうことだったんですか？ —You mentioned that he was tunnel-visioned on pursuing being a band, but retrospectively what exactly did that entail? ゆーまお：たぶんなんですけど、今では俺らみたいな存在って当たり前になって、普通にゴロゴロ出てくるし、誰も何とも思わなくなったじゃないですか。でも俺らは何とも思われてたんですよね。 Yumao: This is just my two cents but, entities like us are now part of the norm, commonplace, nobody thinks anything of it anymore. But when it came to us, they sure did. ――確かに、ヒトリエが出てきたときは、ロックシーンのなかでも異端というか、ちょっと特殊な感じがあったかもしれない。 —That’s true, when Hitorie first came into the limelight you did seem to be something of an anomaly within the rock music scene, you were very unique.  ゆーまお：当時そうだったじゃないですか。それが許せなかったんですよね、俺は。イメージでこいつらは食ってかかってきてんだな、音楽聴いてないんだなっていうのはすごくよくわかっていたので。だからそれが今こうやって市民権を得ていることも正直言って腹が立ってしょうがない。 Yumao: At the time such was the case. And that had felt terribly unfair and insensitive, to me. People were only flaming us based on their assumptions alone, it was blatant that they had never listened to our music at all. So to be honest the way creators nowadays just automatically get citizenship and take it for granted kind of rubs me the wrong way sometimes. I can’t help it.  ――なるほど。 —That’s understandable.  ゆーまお：たぶんみんな、俺らとか、米津玄師とかもそうですけど、がんばってた人たちのおかげで結構平気になってる部分があるということを、もうちょっとみんな認識してもいいんじゃないの？とは思ってるんですけど、別に「ありがとう」って言ってほしいわけでもない（笑）。 Yumao: We, Yonezu Kenshi, and all us birds of a feather worked hard and paved the path so that everyone else can have it easy now, and I wish people were at least a little bit more aware of that fact? Though, to be fair I’m not asking for people to go around thanking us or anything (laughs).  イガラシ：はははははは！ ygarshy: Hahahahahaha!  ――wowakaさんは人一倍それを感じていたでしょうね。「ボカロP・wowakaのバンド」って言われることは嫌だったでしょうし。 —wowaka must’ve especially felt that to an extreme extent as well. He must’ve hated Hitorie being called “The Vocaloid producer, wowaka’s band.  ゆーまお：そうです。「ボカロっぽいな」ってめっちゃ言われてましたからね。 Yumao: He did. We were called “Vocaloid-like” too many times.  イガラシ：めちゃくちゃ言われてました。 ygarshy: Too many times indeed.  ゆーまお：「ボカロっぽいってなんだよ」って。 Yumao: What the heck is Vocaloid-like even supposed to mean? イガラシ：「俺なんだよ」っていう感じだった。 ygarshy: We’re us. Our own thing.  ――そこの葛藤と戦いみたいなのが、4人体制で作ったヒトリエの作品にはめちゃくちゃ刻まれてるような感じがしますよね。 —That conflict and struggle you withstood is evidently embedded deep into the pieces of art made by the four of you.  シノダ：そことの戦いだったのかな。あの人はずっと自分とファイトしてた。 Shinoda: I think maybe this problem was a key component of his internal conflict, that guy really was constantly fighting against himself. ゆーまお：音楽のフォーマットをひとつ作っちゃったのは罪深いね。それが自分の首を絞めたね。 Yumao: Devising a whole new type of format for music was just too wretched of a deed. That in turn came to be shackles that gripped at his neck. No good deed goes unpunished.  シノダ：パイオニアの苦しみを目の前で見てましたよ、ずっと。 Shinoda: And we were stuck bearing witness to the torments that come with being a pioneer. 

――実際、ヒトリエは音楽のフォーマットを作ったと思うんですけど、それは今ヒトリエとして音楽を作る上でも意識しているんですか？ —Hitorie did indeed pioneer a new musical format. Do you still keep it in mind when you write music, even now? ゆーまお：なんか今思ったんですけど、結構4つ打ちをやっていたと思うんですよ、当時。シーンが4つ打ちばかりになった時代があったけど、その前から彼は4つ打ちをやっていて、なんならあのブームの導入ぐらいだった印象があるんです。だからこそ、そこからシーンは変わっていったけど、俺らは動じずに4つ打ちを続けられている。それは結構強いなと思ってます。 Yumao: Now that you mention it, we did often stick to those 4/4 beats back in the day. 4/4 beats were mainstream for a while, but wowaka was way ahead of the curve, to the point that he was practically one of the trailblazers. So the scene may have changed but we simply continued on doing what we always did. And that was a real show of strength.   イガラシ：確かに。流行ったからやったわけじゃないからね（笑）。ygarshy: That’s a good point. We weren’t exactly chasing the trends when doing it (laughs).  ゆーまお：そう。時代の流れに乗ってた部分もあると思うんですけど、別に関係ないっていう。だからそのぶん、得意技が他のバンドよりは多いかもしれないとは思ってます。 Yumao: Yep. Of course we weren’t immune to the trends as well, but that wasn’t really our motive when writing music. It was more just like an extra special little skill on our belts we used when writing.  ――うん。時代とかと関係なく自分たちの得意技を増やしてきたんでしょうね。最新アルバムの『Friend Chord』を聴くと、いわゆる「ヒトリエらしさ」みたいなものはもはや関係なくなってきている感じもするし。 —True. You were busy sharpening your arsenal regardless of what others were doing. Hitorie’s unique style shines through in your most recent album, “Friend Chord,” especially.  シノダ：そうですね。 Shinoda: Yes.  イガラシ：3人で曲を作るっていうときには「wowakaっぽいことをするのはやめよう」みたいなところがあったんです。もはや自分たちで演奏してレコーディングしたらヒトリエの色にはなるわけだからっていう感じで作り始めて、『Friend Chord』はその3枚目なので。 ygarshy: Whenever we make songs as the 3 of us, we make the conscious decision to steer away from purposefully mimicking wowaka’s quirks. We realized that as long as we’re performing and recording together, anything we make will naturally fit into our mold. Thus Friend Chord is the 3rd piece we’ve made following that mentality.  ――そう、もうアルバム3枚作ってきたんですよね。 —Wow, you’ve released 3 albums already. シノダ：よく作りましたよ、本当に。 Shinoda: We’ve been hard at work. Real hard. ――だって、4人で作ったアルバムが4枚じゃないですか。 —Then you had released 4 albums back when you were a 4 piece band.  ゆーまお：そうなんです。もう半々くらいになってきた。メジャーの在籍年数的にもwowakaがいた時期と半々くらいなので。 Yumao: Yep. It’s almost half and half now. The amount of years we’ve been signed to a major label is now almost half and half too.  シノダ：あちゃあ。 Shinoda: Oh my gosh.  ゆーまお：そう、わりかし「あちゃあ」っていう感じ。まあ、時間は進むから自ずとそうなっていくものですけど、もうそこまで来たっていうか。まだ2、3年ぐらいのつもりだったんですけど。 Yumao: Yep, this is even more of an “Oh my gosh” moment than you thought. The passing of time is inevitable but that still doesn’t make it any less significant. It still feels like it’s only been at most 2 or 3 years. ――時間は着実に積み重なっていますね。ライブのセットリストにおける4人で作った曲と3人で作った曲の割合も変わってきましたし。 —Time is a fickle beast. The distribution of your songs from both eras has changed within your concert setlists as well.  シノダ：3人で作った曲でも結構ライブでは定番化してくるものが出てきたし。 Shinoda: Many of our 3 piece songs have started to become staples. ――もちろんそうですよね。 —Of course.  ゆーまお：何かのときのセットリストで、全員の曲がバランスよく入っていたことがあるんですよ。意識したわけじゃないと思うんですけど、普通に感動的でしたね。「全員の曲がバランスよく入ってる！　なんて素晴らしいんだ」と思って。そんなことも最近ありました。 Yumao: I don’t remember exactly when this happened but, recently we fashioned together a setlist wherein a song written but each of the 4 of us all meshed together perfectly. It wasn’t on purpose either, which made it all the more symbolic to me. “All of our songs have achieved perfect harmony! This is so beautiful,” I thought. イガラシ：正直、どこかのタイミングまでは「みんなwowakaが作った曲が聴きたいんだろうな」っていう気持ちがあって、そういう曲をやってあげたほうが絶対に喜ぶっていう意識はあったし、今でもそれはあるんですけど、どこかのタイミングで「3人で作った曲から聴き始めた人もいるんだな」と思ったら、自分たちのそういう意識にあまりとらわれないほうがいいかもしれないなって。なので対バン相手とかライブの内容によってフラットに曲を選ぶようになりました。それは続けてきたからだなって思いますね。

ygarshy: For a while we were under the impression that people only wanted to listen to songs written by wowaka, and had strived to make our audience happy. While this is still true to a degree even today, at a certain point in time we had the revelation that some people only first started listening to Hitorie’s music after the changes. We realized that we shouldn’t let our assumptions get the better of us. We’ve since come to impartially decide on our setlists based only on who we’re performing with, or where and when we’re to perform. I think this optimization played a large role in the cementing of our newer staples.  ――事実、4人でやっていた頃は「wowakaの曲をやるバンド」として活動していたわけですからね。 —It doesn’t help that you banded together for the sole purpose of performing wowaka’s songs in the first place. イガラシ：そうなんですよ。 ygarshy: Exactly.  シノダ：続けようと最初に思ったところも、僕はそれがあったんです。wowakaの曲を演奏できるバンドとしてアーカイブ的にヒトリエを続けられたらいいんじゃないかって。 Shinoda: One of the key motivations for continuing this band was actually just that: for Hitorie to exist as an archive to keep wowaka’s songs alive.  イガラシ：「アーカイブ」って言い方はすごくシノダっぽいね。 ygarshy: The word “archive” is very Shinoda of you.  シノダ：そしたら最初のツアーのファイナルぐらいでゆーまおが「曲を書こう」って言い出したから「あれ？」って（笑）。 Shinoda: It wasn’t until around the finale of our first tour that Yumao blurted out “Hey let’s write a song”. I was like “Huh?” (Laughs). ゆーまお：誰かが言わないと曲書かなそうだったんで。 Yumao: If nobody spoke up then it was never gonna happen so… シノダ：あれ言われたときの重責感は半端なかった。 Shinoda: The weight I felt on my shoulders when you said that was something intense though.  ――でもそこで3人で曲を書くっていうことと、シノダさんがボーカルとして歌うっていう決断ができたからこそ、ここまで3枚のアルバムができたし、バンドとしても進化できたわけですからね。「アーカイブとしてやっていく」という意識だけだったらここまで続かなかったと思います。 —The decision to write new songs and have Shinoda sing them was what led you to release 3 fantastic albums, and for you to evolve as a band. If being a living archive was your sole purpose then I doubt you would’ve been able to come as far as you have today.  シノダ：そうですね。本当にライブをやればやるほどどんどん変わっていきますし、結局自分の中に落とし込んでいってしまうので。だから今ではwowakaの曲だけど自分流のやり方でやっちゃってるなあって。たまに4人の頃の音源とか聴くと歌い方が全然違うんですよね。「勝手にやっちゃってごめん」みたいな（笑）。それぐらい、どうしても変化していくものなんで。 Shinoda: Agreed. The more we do shows, the more we grow, and the more I learn just how much we’re capable of. Despite it being wowaka’s songs that we’re performing, we’ve managed to twist them in our very own way. Sometimes when I listen back on old recordings of our old performances I notice that wowaka would sing things entirely differently from how I do now. It makes me wanna tell him “Sorry for messing with your work” (laughs). Change just occurs naturally whether I want it to or not.  ――ヒトリエとしてはツアーも終わったところですけど、今後についてはどんなイメージを持っていますか？ —What are your plans for the future now that you are fresh off of your tour? シノダ：この『初音ミクシンフォニー』があって、来年のLINE CUBEがあって、他にもライブはいっぱい決まっていて。今は曲書いたりしてます。 Shinoda: We have Miku Symphony on our plate of course, then next year we have another big show in the Line Cube (a 2000 capacity venue in Shibuya), on top of a bunch more shows planned. For now we’re writing music.  ゆーまお：あとは日本の市場だけを考える雰囲気が徐々になくなりつつあって。中国で需要が出てきているので、毎年のツアーでは最低でも5、6カ所、いろんな都市を回りたいなって思っています。アジア諸国以外の、ヨーロッパもアメリカも行けたらいいんですけど。そういうふうに視点は変わってきているのかなと思います。 Yumao: We’ve started to expand our scope outside of only Japan as well, bit by bit. Our influence has extended to China, as we do at least 5 or 6 shows there a year now. I personally love touring around to new places. I would love to go outside of Asia and perform in Europe or the Americas as well but. For now it’s only part of the greater vision. 

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ There's a preview of their performance up on Youtube:

Or don't hesitate to buy the full DVD, available on CDJapan or other places:

Hatsune Miku Simphony - Miku Symphony 2025 Orchestral Live Tokyo Philharmonic Orchestra Blu-ray

Tokyo Philharmonic Orchestra,Hatsune Miku Simphony - Miku Symphony 2025 Orchestral Live,Blu-ray listed at CDJapan! Get it delivered safely

[manjuhitorie]

hi manju-san !!!! this might be a little silly, but i was wondering if you know where the title of selfy charm comes from? 🥹 like if its a reference of something or just words shinoda came up with. thank u in advance 😭💕

Link by @manjuhitorie

Hitorie(ヒトリエ) - Shinoda Essay about Selfy charm via Uta-Net 今日のうた - 歌ネット 2024年6月5日に“ヒトリエ”が両A面シングル『オン・ザ・フロントライン / センスレス・ワンダー[ReREC]』をリリース！

I translated a lil' column that should give you some insight into what the title is all about! I hope it helps🥹

[manjuhitorie]

Hitorie(ヒトリエ) - Shinoda Essay about Selfy charm via Uta-Net

ヒトリエ 一枚のセルフィーの美しさに込められた覚悟と情念、のようなもの

今日のうた - 歌ネット

　2024年6月5日に“ヒトリエ”が両A面シングル『オン・ザ・フロントライン / センスレス・ワンダー[ReREC]』をリリース！ 「オン・ザ・フロントライン」は、TVアニメ『無職転生Ⅱ ～異世界行ったら本気だす～』第2クールのオープニングテーマ。「センスレス・ワンダー[ReREC]」は、2014年1月22日に、ヒトリエがメジャー1stシングルとしてリリースした楽曲を、現体制のシノダがボーカルを務める3人体制で再レコーディングしたものとなっております。 On June 5th of 2024 “Hitorie” released a new double A-side single called “On the Front Line/Senseless Wonder [ReRec]”! “On the Front Line” was utilized as the opening song for season 2 of the anime “Jobless Reincarnation”. While “Senseless Wonder [ReRec]” is based off of Hitorie’s first major label single from January 22nd 2014, but re-recorded with the current 3 piece band and Shinoda on vocals.

さて、今日のうたではそんな“ヒトリエ”のシノダによる歌詞エッセイを2回に渡りお届け。第2弾は、自身が作詞を手掛けた収録曲「Selfy charm」にまつわるお話です。会ったこともないような誰かを想像しながら書いた、自撮りがモチーフのこの歌。主人公が対立している価値観とは…。今作と併せて、エッセイを受け取ってください。 Now, today’s song for this column will be the second essay about the lyrics from the vocalist himself, Shinoda of Hitorie, involving the hidden song on the single also written by him, “Selfy charm”. While writing he had been envisioning someone he’d never met, whilst employing selfies as his motif for his tune. Whatever could be thwarting the morals and principles of this imaginary girl…? Please pair this essay with the song to get the full picture.

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前回は「オン・ザ・フロントライン」についての話をさせていただきましたので、引き続きわたしが歌詞を手掛けた「Selfy charm」か「さくらのいつか」のどちらかの話をしようと思うんですが、「さくらのいつか」に関しては最早語るまでもないというか、あなたが聴いて感じたことが全てと思っていただいて結構ですので、ここはひとつ「selfy charm」について語らせていただこうかと思います。こっちはこっちでかなり僕にとって深刻なテーマを書いたつもりなので… Previously I had delved into the story behind the song “On the Front Line”, so next I thought it appropriate to delve into another song on the same album, meaning either “Selfy charm” or “Sakura no Itsuka”. However in regards to“Sakura no Itsuka” there’s actually nothing that needs to be said aloud, whatever you guys out there think and feel when you listen to it is the whole crux of it, and that’s all that matters in the end. Thus I’ve settled on “Selfy charm” to be the topic of discussion instead. I did write this song with the intention of portraying a fairly serious matter as well, so…

selfyってことで自撮りが歌詞のモチーフになってるんですけど僕は自分の顔が全然好きじゃなく、そのくせ仕事上ステージでカッコつけなければならない局面が多い為、ライブ中はハイになっていたり自分のことが見えてなかったりするので特に気にはならないんですが記録物としての自分を見た途端にコイツこんなツラの癖に自分がカッコいいつもりでやっていたのかと愕然することが多く、それだけで半日寝込んだりする時も余裕であったりするんですね。 Selfy is in the title so obviously the lyrics revolve around the idea of taking pictures of oneself, but the thing is that… I despise my own face, even despite the fact that my profession often demands me to act all cool up on stage. Mid-show once the ball gets rolling I do get into it and lose sight of myself so it doesn’t bother me in the heat of the moment, but as soon as I see myself in the recordings I am often left astonished. “Damn this mutt’s got such an ugly mug yet he’s really putting on airs huh,” I think to myself, then proceed to spend the next half a day sleeping willy-nilly.

ルッキズムが自家中毒を起こして苦しんでいるみたいな状態。てめー何年バンドマンやってんだ、良い加減慣れなさいよって話で、これから歳を取っていくたびに嫌いな部分なんてどんどん増えていくわけで、 このままでは憎悪の螺旋が自己に向けてねじ巻いていくばかりなので早々に割り切りをつけないとこっから先マジでやばそうだなと思ってますが、そんなもんなあ、つけられるんならとっくの昔につけられてたっつーのなあ。 It feels as though it’s lookism causing me to suffer autointoxication. “How many years have you been in a band now you moron get used to it already woncha”, I tell myself. The older I get the more things I find to hate about myself,and at the rate I’m going I’m about ready to become trapped in a wicked spiral of my own making. I realize that I need to cut it out as soon as possible or else I’ll be walking on a tightrope until kingdom come but…. If I was able to do that in the first place then I would’ve done it long ago, y’know.

そんな僕も自撮りをSNSに放り投げまくっていた時期とかあって、若気の至りとスマホを手にした喜びがマリアージュして発芽した過ちとでもいいますか、別に自分の顔を100%憎悪しているわけではなくて、好きなところはあるけど好きじゃない部分は抹消したい程に嫌、といった塩梅でして、これなら世に出せるかもみたいなレベルまで自分の顔を監修出来る楽しさが自撮りにはあったんですよね。ただインカメで反転させたまま撮るという行為にとても違和感を感じていて、結局鏡に映った自分の顔は普段見慣れた顔かもしれないが真実性に欠けるというか、その真実性が自分自身を苦しめている筈なんだけど、なるべく嘘を発信したくないという自分のだるい部分がそれをさせてくれなくて、そのうち色々面倒臭くなって自撮りはやらなくなったのですが…結局そういっただるい部分によってスポイルされるスピード感ってあるよな～とか思ったりします。 Nevertheless even I too had a phase when I would flood social media platforms with my selfies. The heat of my youth mixed with the joy of holding a smart phone in my hands, it was like those two ideas married together to germinate a mistake. It’s not as if I 100% cannot stand my own face, there’s things about it that I do indeed like, it’s just that the more I want to eliminate the parts I don’t like, the more and more I grow to hate those parts, it’s a vicious cycle. So back in the day I had found fun in supervising my own face and capturing a selfy that was good enough to show the world. However, the whole thing with the Instagram Camera and stuff wherein you can take photos flipped from the get-go and all just feels weird to me. Like it’s true that I am more used to the face I see in the mirror, but it just doesn’t feel as true to reality if I flip the image that way. That exact reality may be exactly what inflicts upon me great pains but, the annoying thing about me is that I’m not the kinda guy to tell lies and so for that reason I just refuse to do what’s better for me sometimes. TL;DR all this crap mixed together is what’s made me stop taking selfies. I find that said annoying part of myself does end up spoiling good things pretty fast sometimes.

何か“嘘”という言葉を曲中で用いてる時点で呪いに似た衆愚的感覚が心に刻み込まれているのかもしれないと、改めて歌詞を読み返し痛感する次第です。この歌詞の主人公である彼女が対立する価値観こそがわたしの呪いのようなそれで、美しくなりたいと願い、行動し続ける彼女達に容易に浴びせられる「嘘」だとか「汚れ」といった数多の定型句が装填されたまま回る世界のある日の刹那、タイムラインに颯爽と現れ、タブレットの液晶を滑らせる指を反射的に止めさせられた一枚のセルフィーの美しさに込められた覚悟と情念、のようなものを勝手に想像している時点で到底僕なんかが追いつけないスピード感で彼女達は生きているのかもしれない、という想像。会ったこともないような誰かを想像しながら歌詞を書くってマジで謎の行為だなと思うんですが、それでも書きたくなってしまったものはしょうがないじゃない。 The fact that I use the word “lie” so much in the song perhaps exhibits a mobocratic sensibility that’s been etched onto my heart that’s akin to a curse, or so I felt become painfully apparent after I reread over the lyrics. The girl who’s the main character of this song and her opposing values* are just like this curse of mine, she wishes she could be beautiful. She charges herself up with stock phrases such as “impurities”and“lies” that other woman so readily bask in, until one fateful moment, when as the world was going round and round something gracefully materialized on her Timeline: a selfy depicting a beauty filled with such resolve and passion that it caused the finger sliding around the liquid crystal within her display to immediately halt in its tracks. Or so I envisioned and realized that these woman are living life so fast that I could never ever dare to catch up with them. Writing lyrics while thinking about some imaginary person I’ve never met before is some really whacky stuff I think but, once an idea’s stuck in my head what else is a guy to do but get it outta their system y’know.

「さくらのいつか」に関しても、曲も歌詞も含めて果たしてこれを今書いてしまっていいのかしら、と悩んだ時もありましたが、それよりも書きたくなってしまったものはしょうがないじゃない、という気持ちが余裕で勝ったので、昨今のわたしはきっとそういうモードなのかもしれません。多分良い傾向なんだと思う。 Both this song and “Sakura no Itsuka” had me stressing for a while whether they were okay to write or not, but in the end once an idea’s stuck in my head what’s a guy to do but write it, and that inspiration won over the stress in the end. I’m just in that kinda zone these days I guess. And I think it’s probably for the better.

＜ヒトリエ・シノダ＞ Hitorie, Shinoda

[manjuhitorie]

hello manju-san! i hope i am not bothering you. i suddenly remembered that wowaka is a fan of kendrick lamar, but do you have any source on it? it was something i thought about, but i don't remember if it was from an interview or something ><

Hellooo!! It’s no bother at alll!!

I did some digging and found that he had mentioned Kendrick in both this:

https://twitter.com/SpotifyJP/statuses/938256706215149568?tw_i=938256706215149568&tw_e=permalink&tw_p=archive

And in an old Twitcast!

[manjuhitorie]

Hitorie - Oyasuminasai (おやすみなさい) - Lyrics English Translation

脱ぎ散らかされた身体に触れる A body that someone stripped themselves of and tossed aside, I touch upon it 髪を、とかす I undo, its hair レコード棚の裏で泣いている You, crying behind a shelf of records 君を、探す I search, for you いたずらはいい加減これくらいにしておこうね These pranks are going too far, so cut it out okay おやすみなさい Good night まやかしの中で躓き転ぶ　鍵を、鍵を失くす Amidst deceit I trip and fall, losing the key, the key 白いシーツに磔、モルフォ蝶。 Crucified to white sheets, a morpho butterfly. 髪を、髪をとかす I undo its hair, its hair 君のそれで肺の底が満たされて Your actions serve to make your lungs fill up, all the way to the bottom 部屋で鳴る音のすべてが寝息のようで And it’s as if every last sound in the whole room is a soft snore 憎しみを裏返した夜はもう、来ないまま A night that’ll flip our hatred upside down, will never come おやすみなさい Good night 朝日に切り刻まれた僕が I, graven into the morning sun, 風に吹かれて散り散りになってしまう Am blown away by the wind and scattered asunder 震える手でペンを握り締めて Clenching a pen in my trembling hand 君のショートボブを描こうとしていた Trying to draw your short bob 可愛く描かなきゃ怒られるから If I don’t draw you cutely you’ll be angry with me 可愛く描かなきゃ怒られるから If I don’t draw you cutely you’ll be angry with me 可愛く描けてしまうから So I end up drawing you cutely それだけでおしまい And that’s it, done おやすみなさい Good night 君が目を覚ます夕餉時を Supper time, the time when you wake up 僕はいつまで待てば良いだろう How long must I wait until then 僕はいつまでも待ってしまうだろう How long must I wait until then そのまま朽ち果ててゆくんだろう How long until I’ve rotted and crumbled away

[manjuhitorie]

Hitorie - Tsuki o Mirutabi Omoibito (月をみるたび想い人) - Lyrics English Translation

Who I Think of When I Look at the Moon 嫌になるくらい月が綺麗でさ The moon is so beautiful that I can’t stand it 頭ん中ずっとカラカラ音がしてるのさ There’s a constant rattling sound inside my head いつかがいつかなんかじゃなくて Instead of just waiting for that “someday” to come someday 明日がいいなこんなことすら叶わなくってさ I’d prefer tomorrow, yet even that’s not happening 埃まみれの部屋の隅 In a dusty corner of a room まつ毛の先を這う微睡み Drowsiness crawls along the tips of your eyelashes 夢のプールを泳ぐ君に You swim inside a pool of dreams 僕は何も言えないままでいるよ Leaving me unable to say anything to you 錆だらけのシナプスが My rusty synapses 僕の悲しいや悲しくないを Serve to muddle up 濁らせる My sad and not sad 嫌になるくらい月が綺麗でさ The moon is so beautiful that I can’t stand it 頭ん中ずっとカラカラ音がしてるのさ There’s a constant rattling sound inside my head いつかがいつかなんかじゃなくて Instead of just waiting for that “someday” to come someday 明日がいいなこんなことすら叶わなくってさ I’d prefer tomorrow, yet even that’s not happening 僕は何してた？ずっと暇してた。 What have I been doing? I’ve been bored. 今日も明日も変わらず大人のフリをして Everyday I pretend to be an adult タイムラインまた汚してた I’ve dirtied the timeline again 人様に迷惑かけるのやめなさいな Please stop causing problems for others 癖になるよな、癖になるよな It’s just so addicting, it’s just so addicting そんな下品なレリックやめとけば？ Maybe stop it with that lowly relic? 気に障るようなことは All the things that get on my nerves have been 10代から近代まで肥大化の一途を辿るさ Steadily growing bigger and bigger, from my teen years to the current years カビに塗れたニューロンの My moldy neurons 丁度よくわからない名前のとこが Can’t figure out a name and that right there 僕の悲しいや悲しくないを濁らせる濁らせる Serves to muddle and muddle my sad and not sad 嫌になるくらい月が綺麗でさ The moon is so beautiful that I can’t stand it 頭ん中ずっとカラカラ音がしてるのさ There’s a constant rattling sound inside my head いつかがいつかなんかじゃなくて Instead of just waiting for that “someday” to come someday 明日がいいなこんなことすら叶わなくってさ I’d prefer tomorrow, yet even that’s not happening 「月が綺麗だから、おいでよ」 The moon is so beautiful, so come on over” その声がずっと僕を苦しめるのさ That voice continues to hurt me いつかは Some day ずっといつかになってしまったみたいで Is always being pushed to some other day もう終わっちまったね And now it’s all over それだけがずっと僕を苦しめるのさ That alone is what continues to hurt me こんな夜には、君が居なくてさ Tonight, you’re not here こんな夜には、君が Tonight, you’re

Footnotes:

● RADIO DRAGON -NEXT- on Jan. 24 2025 When asked about Tsuki wo Miru Tabi Omou Hito SND: This song’s from about 2 years ago so, it’s been floating around for a while now. And for those past 2 whole years has Yumao been nagging me over how “This song is so goood.” Yumao: Yeah. Because it’s so gooood, yet Shinoda kept never, ever, doing anything with it… Whenever I would ask him about it he would always just tell me “I like the song too, but now’s the right time for it.” So like, I’m so happy that it’s finally being used in an album. SND: I did always want to find the perfect time for it. And finally it came too. I think I made the right decision to release it this year, for our 10th anniversary celebration and everything (laughs nervously).

● In Japanese, “The moon is beautiful, isn’t it.” is code for “I love you.”