GARNET CROW 歌詞考察スレ

GARNET CROW is known for its profound lyrics. This thread is for examining them and sharing interpretations. Since lyrics can mean different things to different people, there are no right or wrong answers. Please share your thoughts and deepen everyone’s understanding.

How do you interpret the lyrics of “Jewel Fish”? I feel they describe that famous traffic accident.

Sixty million? Six billion? Either way, it is an absurdly huge number.

◆ GARNET CROW Spring Album Listening Session ◆ Saturday, April 4, rain or shine, starting at 20:00. Schedule: 20:00 — first album; 21:00 — second album; 22:00 — third album. We will listen together on the linked thread: http://namidame.2ch.net/test/read.cgi/liveuranus/1214717659/ Everyone starts the CD at the same moment. Joining or leaving midway is fine. This is not an Internet radio broadcast.

Bump.

What do the lyrics of “Blue no Mori de” mean? Is it a story about two people who have lost their memories?

Could you explain your interpretation of Jewel Fish in more detail?

My traffic-accident interpretation: “You rushed out before I could stop you, without even looking back” and “the moment the signal changed, we were already separated” suggest that the person hurried into the crosswalk and went to a distant heaven. “We will meet beyond the waves, see you again” would mean meeting beyond the Sanzu River. The future will not always be sad, so perhaps one can go on living gently even without that person. Continuing to love someone who is gone may become proof that we truly lived.

Keeping the thread alive.

Why is this thread so quiet?

Could someone tell me the lyrics in the final harmony of “Yuudachi no Niwa”?

It is so quiet here. I wonder whether “flying” has a special meaning.

Could you explain the source or original idea behind that interpretation?

I think the final line may be something like “falling in love in some season.” “Yuudachi no Niwa” is such a good song.

Thanks. That interpretation is probably right, although I am not sure whether the phrase is actually English or just not printed in the lyrics. It is a wonderful song.

I think “Blue no Mori de” is about reincarnation: “nothing, no memories” means not remembering a previous life, and “tomorrow I will forget again” means forgetting it in the next life. The two people are still certainly alive in this world right now.

I had never considered that angle. Thanks!

I thought it was simply about marine life. The lyrics are deeper than I realized.

Then why are there no feet to walk with?

My own rather dark interpretation: “When the next season comes, you will leave” means the other person goes first, perhaps to the next life. The speaker wishes for wings or feet to follow, but cannot actually go to them. The tears are the loneliness of being left behind and learning grief for the first time. The final chorus may be about overcoming that grief. I tend to interpret “flying” darkly too, as following someone by jumping after them.

How do you interpret “Yume Mita Ato de”? Is it about being dumped? “If I expect nothing, I will not lose anything, but I cannot stop seeking, whatever the future may be” sounds like pursuing someone despite knowing the relationship may end. In a lonely night, the speaker remembers the days when they were loved more than the people they loved. I do not quite understand “words without love will not echo.”

What exactly is the “Blue Forest”? At first I thought it was a sea of trees, but “swim across,” “float,” and “jump in” make it sound like the sea. I also do not understand the image of swimming beneath a sky with no night because there is no ship. Nana’s lyrics are so difficult.

Why has the thread gone quiet?

It is awfully quiet. Maybe we should advertise this in more threads.

Bump.

How do you interpret “Timeless sleep”? Is it a breakup or a death?

“Timeless sleep” means eternal sleep, so I read it as a separation caused by death.

It depends on whom “Timeless sleep” refers to; the meaning changes with the object.

As people grow up, their ways of thinking diverge. I also read it outside a romantic framework. “If I expect nothing...” suggests that sometimes being born with feelings itself can seem melancholy. The lyrics are excellent.

Related thread: † AZUKI Nana’s Lyric World 3 † http://love6.2ch.net/test/read.cgi/poem/1192025158/

That title has two crosses in it. Rather ominous.

I do not understand the lyrics of “picture of world” or “Crystal Gauge.” Could someone explain them?

A North Korean pachinko song.

Could “Eien ni Houmure” be about moving house? The empty room could mean the luggage has been taken to a new place; there is no reason to stay, but the speaker feels something was forgotten. Perhaps the lover’s scent cannot be moved and has to remain there. Probably not, though.

I think it is more metaphorical than that.

Taken literally, I think it is a song about being separated by death.

That is an easy-to-understand and interesting interpretation.

Does the word “yofuke” really exist?

Yes. It is usually written 夜更け, though.

I see. Do 夜深け and 夜更け mean the same thing?

Does Nana care about how people’s ideas and interpretations change over time? She says she does not discuss poetry and only writes words to fit the music, but I feel she puts a lot of meaning into them. Has the religious feeling in her lyrics faded recently?

What does “So Foolish” mean?

“So foolish.”

The lyrics of “Nora” are wonderful.

“You” and “I” are walking different roads and cannot remain together forever. I think the lack of feet represents being unable to walk the road the other person must take. As for the Blue Forest, perhaps it can simply mean the world: jumping into the world, floating, and swimming through it.

“Picture of world” feels like a song about giving unconditional love to someone. “Crystal Gauge” sounds like a song about heartbreak, becoming stronger through it, and continuing to live.

Could someone share an interpretation of “holy ground”? What is the holy ground, and what does it mean to be satisfied only by continually giving?

“Being satisfied only by continually giving” could mean finding fulfillment in continuing to give love without expecting anything in return. The holy ground may be love that has reached that depth.

Christian ideas differ from modern ways of thinking, which makes the song difficult. I imagine a protagonist who loses a beloved person and makes seeking that person’s love the purpose of life, loses hope, and wants to die, but eventually finds a way to live as the one who gives love.

My impression is that after the beloved dies, the protagonist gradually develops something like a Pygmalion complex.

Thanks to everyone. The knot in my chest has loosened a little. I had considered moving from receiving love to giving it, but it felt wrong: after all that pain, would this just be another romance to heal the old one? That would seem shallow. Rather than switching moods and moving on, perhaps the protagonist seeks another love precisely because the former love was irreplaceable and should be cherished. I hope that is what the song means.

Are “Last Love Song,” “Call my name,” and “Timeless sleep” really a trilogy? I feel I saw that somewhere.

I cannot quite understand “Marginal Man.” Does it mean a young person between childhood and adulthood? The lyrics are difficult.

I remember it can also mean someone who belongs to neither side.

I think Marginal Man is Nana herself.

In a sense, yes.

Tell me which lyrics you like.

I especially love this passage from “Kimi Tsuresaru Toki no Otozure”: if we someday lose our physical forms, we should fill the time we have been given with precious things.

That passage is very popular.

This makes me want to listen to the song again.

I love the opening of “Natsu no Maboroshi”: tracing contrails outside the window while thinking only of the person I argued with today.

I hope the world will someday be wrapped in gentle light. It sounds hypocritical to say, but I wish it could really change things. “Holy ground” has great lyrics throughout.

The final “Kimi to Iu Hikari,” especially the part about love and such.

Even when the body surrenders to helplessness, people can still live.

Still, the best lyric is probably “Cycling, yay!”

I heard that “Natsu no Maboroshi” secretly concerns the death of a lover. The verse before the chorus recalls days they spent together, while the chorus describes the speaker after losing the lover. But if the first thing remembered after closing one’s eyes is the person one argued with today, does that not sound contradictory?

I always read it as knowing that the lover will eventually be lost while still living in the present, perhaps because of a serious illness. “The you I argued with today” could simply be a recollection of happy days spent together.

It feels like a couple accepted a breakup and separated, but the feelings remain unforgettable. Even memories are ultimately fragile lives that will end someday, yet the speaker will not forget that fading life. The meaning of “waiting for the tide” matters. The argument may refer to a small, anxious, defenseless moment.

My Japanese was awkward. I mean that even memories of the days they spent together are fragile lives that will one day end, and the speaker does not want to forget a life that is now fading.

“Crystal Gauge” depends on how one understands the English lyrics at the end. The melody is beautiful too.

In “Kimi Tsuresaru Toki no Otozure,” there is a difficult kanji read as kizu. Is that really the reading, or is it ateji?

How do you interpret “Sorairo no Neko”?

瑕疵 is read kashi and means a flaw or scar. It is essentially the same as 傷.

It feels like the song is about Nana herself.

That makes sense. In “NORA,” do you think “that child,” or “you,” is a girl or a boy? Either seems possible.

Because the first-person pronoun is boku, I imagine the other person is a girl and the stranger is a boy. Perhaps a male cat becomes close to a human girl, then leaves when she gets a boyfriend. Is the unknown laughter the girl’s laughter at the stranger, or the stranger’s laughter?

I took it to be the child’s laughter. That makes it sadder. “Nora” makes me want to cry.

I had always assumed “the laughter I do not know” was the stranger’s voice. I had not considered the other reading; it is sadder.

I had always read it as a breakup song from a man’s point of view. It is interesting how many interpretations there are.

Yuri once said something like, “I wonder what happened to that cat afterward.” I would love a sequel-like song. The original is heartbreaking.

The way people call it a cat made me laugh—Yuri is adorable. Since the second verse says that if the speaker could talk to the child, they might get along better, the protagonist must be a cat.

“Lose feeling” is understated, but the lyrics are very good and almost make me cry.

I have no reading comprehension, sorry. In “Mr. Holiday,” what are the “you” and “I”? Do I resent the wind for interfering with our love, or do I resent it because I want to interfere with someone else’s love?

A holiday should have been spent by two people, but “you” went surfing, shouting about the waves. So I read it as the speaker resenting the wind for getting in the way of their romance.

Who is Matilda in “in little time”?

Here are two links that may explain it: http://blog.goo.ne.jp/tecchan_july/e/372262eadbbb794eb3c650234f93f3b1 and http://detail.chiebukuro.yahoo.co.jp/qa/question_detail/q1120465696

Matilda is the heroine of the film “The Hairdresser’s Husband.” Near the end, she jumps into a river. The lyrics may have been written with her as the image.

Thanks! I did not realize it was a person’s name. The song feels much deeper now.

What does the English at the beginning of “Haru Matsu Hana no You ni” mean?

It may be “Ophelia.” Someone investigated it here: http://syouzyokaizoku.cocolog-nifty.com/okite/2008/04/post_ee1a.html

There are pictures of it in many places, for example: http://www.tate.org.uk/tateetc/issue3/microtate3.htm

Thanks for the quick answer! I like “Haru Matsu Hana no You ni” even more now.

After reading this thread, I like GARNET CROW even more. I want to listen to the lyrics more carefully.

GaneKuro... That is the first time I have heard that abbreviation.

Isn’t GaneKuro a fairly common abbreviation?

About “Nora”: I do not think the speaker is a cat. If it were a cat, how would it know that the child looks at the constellations and talks about gods’ mischief? I read the speaker as an ordinary human man—a free, self-centered person who is bad at speaking and cannot treat a girl kindly. Of course, interpretations differ.

Interpretations differ, but the promotion clearly presented it as a song with a cat protagonist, and Yuri explicitly said it was a cat. In Nana’s world, a cat understanding human language is not strange.

That is what I think, but lines such as “put me on your lap” and “I am leaving this place” really do sound like a cat.

It is better not to present one’s interpretation as a definitive fact. If the protagonist could not understand human language at all, the poem itself would not work.

100.

The lyrics of “Kakurenbo” are unexpectedly frightening. There is a line about locking the shrine grounds—does that mean locking a child inside so they cannot get out?

Yes: “You are the ones who turned me into a demon, so I will do my best to treat demons kindly.” Then the shrine gate is locked: “Of course I imprison people and abandon them; I am a demon.”

Nana apparently does not tell even the other members what feelings or themes she puts into her lyrics. So even if Yuri says the protagonist is a cat, that is ultimately Yuri’s interpretation, not necessarily the truth. If Nana herself says it is a cat, then it is—but she invites people to interpret freely.

Even so, because the title is “Nora” and the lyrics evoke a cat, I will provisionally call the protagonist a cat. It feels like a different kind of cat from “Sorairo no Neko.” The Scorpio-traveling fantasy also feels nonhuman, though a human viewpoint still works.

What happens when the lyricist, composer, and singer are different people? If a sad poem is sung cheerfully because the singer interprets it differently, the impression changes. I think the members should explain their intentions to one another.

Yuri does not sing with that much overt emotion—in a good way—so it is fine.

Nana has actually told Yuri, “Please do not deliberately sing with emotion.”

I cannot imagine Nana and Yuri failing to fit together.

“Kimi o Kazaru Hana o Sakasou” is precisely an example of Nana and Yuri communicating almost telepathically.

Sometimes a rhythmic song ends up with dark lyrics. That is reciprocal compromise. They have said that if everything were controlled by one person, there would be no point in four people working together. They also revise things if the lyrics and arrangement do not work. That is why a proposed “Nora” sequel feels slightly odd to me.

Yuri is the only one running ahead and talking about making a sequel to “Nora.” I cannot imagine Nana wanting one.

I would like to hear a “Nora” sequel too, and I also want to know what happens next. Fans can have different opinions, but members should make what they want; each fan is free to like or dislike the result.

Is “Blue no Mori de” the song with an upbeat track and dark lyrics?

“Jewel Fish” is another example.

That contrast is exactly what makes it interesting.

In “Meguriku ru Haru ni,” why is it sad that one day the speaker will stand up again?

Perhaps it means that one day the speaker may forget the person they lost and stand up again. That possibility is sad too.

I see. The song and lyrics are so good they make me cry. I would like it played at my funeral.

There are many songs about separation, but they never feel formulaic or repetitive. That is Nana’s quality.

“I hope the world will someday be wrapped in gentle light. It would be nice if saying this hypocritical-sounding wish could really make it happen.”

Isn’t 声 written but read as 口 here?

Nana’s furigana are genius. She can make “our physical forms disappear” read as “we disappear,” and “a cry of grief” as “a sad voice.” Are there other striking examples?

I want “Kimi o Kazaru Hana o Sakasou” at my funeral. GARNET CROW has so many quiet ballads about death that perhaps there will be a GARNET CROW Ceremonial Best in ten years.

Examples include reading an established concept as an attachment, greatness as liking, and the past as the distant past.

She even makes “reality” or “life” read as “dream.” It is fascinating.

I read it as meaning that once you stand up, you may lose the person again. I remember thinking, “What a depressive lyric.”

There is also “Jewel Fish” being read as “you,” for example.

The new song’s lyrics are beautiful: “A flower blooms, merely swaying; its sweet fragrance is not meant to tempt anyone. Wet by the rain, even if it dreams of flying away someday, the flower blooms only so that its destiny will not be cut short.”

I strongly agree. As a farewell poem, “Eien ni Houmure” is probably the one—its title alone is divine and incredibly powerful.

Nana’s descriptions of scenes and images are beautiful and impressive.

The sequence “Kimi o Kazaru Hana o Sakasou” → “Yasashii Ame” → “Yofuke no Ryuuseitachi” is godlike. I listen to that CD as if it were a mini-album.

In “Ameagari no blue,” what situation is described by the paired footprints and uneven shadows lazily swaying in the summer evening? Is it a couple with an extreme height difference?

Listeners can interpret it however they like.

Those three songs are wonderful.

Why are the lyrics so beautiful? I do not care much for the recent material, but the songs and lyrics on the second album are incredible.

Sometimes I suddenly want to hear “Kaze to Rainbow.” Then I am reminded how great the sequence “Kaze to Rainbow” → “Kanata made Hikaro” → “Mawarimichi” is. “Mawarimichi” was especially shocking the first time: it was almost too good to be a coupling song. “Float World” is like that too.

My top three GARNET CROW coupling tracks would be “Yuudachi no Niwa,” “Float World,” and “Mawarimichi.” Preferences differ, but those seem particularly popular, followed by “in little time,” “Mikansei na Neiro,” “Jewel Fish,” “Crier Girl & Crier Boy ~ice cold sky~,” and “Nora.”

The “Mawarimichi” performance on Lock On was excellent. The arrangement and singing sometimes even felt better than the CD, though Yuri pushing her voice a little in the second half was a shame.

I do not rank them.

“You who like solitude, and I who am poor at dealing with people—somehow, before we knew it, we were standing side by side as if melting together.” “Last Love Song” is a masterpiece. I cannot stand love-song lyrics by most other artists, but I love GARNET CROW.

What does “Gane” mean? lol

It is probably short for GARNET CROW. I call them GaneKuro.

A friend played “Last Love Song” at a wedding. Nice!

I misheard it as: “Tracing contrails outside the window, thinking only of you turning rabid.”

That is hilarious.

That is brilliant.

I have had a similar experience. I read the lyric card before hearing the song and wondered about “Sunday morning, just sitting beside you”—did it mean “Sunday’s morning, you”? I was half asleep.

A parody of Yuri improvising the lyrics while singing: “Believe the invisible feelings, believing... my soul~♪”

It feels as though something will happen... and then... nothing will happen.

In “Saigo no Ritou,” I misheard “How many tears are needed to cry until tired and fall asleep?” as “How many drug-free tears are needed?”

I love the image of a white caravan arriving from far away with a red balloon tied to it. I can picture the scene.

“Candy Pop” is cute, and so is “Happy Pet.” Nana is very good at drawing out a song’s imagery.

I heard “Happy Pet” might be about an affair. Could “atashi” be the affair partner and “watashi” the wife?

There is no way the lyrics are that swampy.

Then what is the significance of using two forms, “watashi” and “atashi”?

Atashi is the owner; watashi is the happy dog. So it is a yuri song.

I love the line in “Candy Pop” about standing with one’s back to the white waves as though angel wings had grown. What an amazing image.

I see—dog and human makes more sense. “I am your happy dog, loved by you.” I had imagined a much more tangled affair where the wife did not know her husband was cheating.

I never liked “Only Stay” much before, but the lyrics changed my mind. I especially love the passage about watching priceless memories turn into scraps in front of the speaker’s eyes while feeling it in their mind.

ASCII-art post; the original image is preserved conceptually.

Nana often uses different written forms for words with the same sound. “Rhythm,” for example, probably has several layers of spelling.

So “Happy Pet” means bestiality.

Is “Holy Ground” a story about sex addiction?

The title is misspelled, but I will answer seriously. The “you” who once gave love is gone, and the protagonist loses hope and feels that dying would end the need to live. By cherishing the love received from that person, the protagonist eventually turns toward living as the one who gives love. “Today after today” means despair keeps the protagonist trapped in the same day, with no tomorrow. After finding a way to give love, tomorrow leads to another tomorrow. The wavering waves represent an unstable but honest attempt to move forward, and the holy ground may be born in the heart.

Sorry for the follow-up. That is not quite right: what is born is a heart that has lost its place. I need to read the lyrics more carefully.

That moved me.

A very lewd fan is free to interpret it that way too.

In “Candy Pop,” what do “if your stomach can still growl, everything must be all right” and “if you cannot sleep, throw everything away” mean? Why is the stomach hungry, why cannot the person sleep, and what should be thrown away?

The stomach growls because the person is healthy. They cannot sleep because they are unable to sleep. I am not sure what should be thrown away, perhaps the burden they are carrying.

I always imagined it as: if you cannot sleep, I will throw away everything around me and go to you.

That is a self-sacrificing interpretation. It moved me.

Even if one is troubled enough to hate continuing to live, hunger proves there is still strength to live. If one still cannot sleep, perhaps one should throw away one’s worries and burdens. “Giving shape to everything visible” may mean shaping life according to one’s own wishes. The protagonist seems to waver between reality and escape.

Whenever I listen to “Hi-Speed Special Oneday,” the lyrics sound incredibly erotic to me. Please tell me how everyone else interprets them.

I used to read it as meaning that as long as their stomachs can still growl—meaning the two people still hunger for each other—the relationship is fine. If anxiety keeps one awake, the speaker will help throw that anxiety away.

I cannot even tell whether “Candy Pop” is about being in love or longing to be in love.

I think the song says that the world contains everything, and being with one’s lover is only one part of reality.

Because it uses so many unreal images—the end of the earth, a midnight picnic, angel wings growing behind white waves—I wonder whether the protagonist is trying to turn their eyes away from reality.

I listened to the song again after that explanation. The lyrics, melody, and singing are all divine.

I think “Candy Pop” is about loving someone so much that nothing but that person is needed, and wanting to live in a world containing only the two of them.

Perhaps it is a song about someone who selects only the tasty parts from an ordinary life, wants to savor them a little longer, yet feels bored and waits for a storm—a change. Even a busy, slightly boring daily life may become a shining special one day when viewed across a long lifetime. But perhaps one may still worry about forgetting such days. I cannot quite figure it out.

I am >>173. I had never thought about the title and ran off in a strange direction. Thank you for explaining it to a fool like me. I will listen while thinking about all the days the two people have shared and all the days ahead.

After rereading my post, it became very hard to understand—sorry, I am bad at organizing my thoughts. I forgot to mention the lyric about arguments and reconciliations forming a shining ring, so perhaps each fragment of that daily life is a “hy-speed special one day,” and all those days become one’s personal treasure. I also used to hear it as a song from Nana’s viewpoint about Yuri, so do not worry.

Lately there do not seem to be songs with that melancholy, depressive atmosphere. I want lyrics like “Timeless Sleep” or “Holy Ground.”

I like the expression “monster” in “Yume Hanabi.” Nana’s lyrics are so good that they erase the usual adolescent-edgy feeling.

How should “Jewel Fish” be understood? Is it really a sad song? And what does the title’s jewel fish mean? The lyrics pronounce jewel as “you,” so is it referring to “you”? Someone once told me, “What? It is a jellyfish,” but jellyfish is spelled differently.

Correction: it is “jewel,” not “jewelry.”

I cried from emotion at the live show. The people on both sides of me had also come alone and seemed to be crying.

It is “Jewel Fish.” I thought fans generally understood it as a jewel fish, not a jellyfish. The song’s motif is probably “Arizona Dream.”

Speaking of jellyfish, is “the moon of the sea” in “Kimi to Iu Hikari” actually a jellyfish?

Taken normally, I think so.

I thought it combined a jellyfish with the moon reflected on the sea. The earth appeared earlier too.

I see.

That is an interesting interpretation. I never would have thought of it. I will listen with that image in mind.

The phrase “trying to scoop up the moon from the seabed” came to mind.

What do the lyrics of “Sorairo no Neko” mean? I have heard that they express the feelings of a homosexual person, but I do not really understand.

A possible reading is that “if I could discard the scars in my heart, would I have chosen a painless way of living from the start?” means wishing one could become heterosexual, while “I tried forcing myself to fit in, but the world cannot be that narrow” means there is no need to accommodate heterosexual society because there should be others like oneself. “Someday, may two people stand side by side like shadows leaning together” suggests hoping to meet such a person. Everyone reads lyrics differently, but Nana’s comments do sound like the psychology of a minority group wrapped in a cute fairy-tale coating.

That interpretation works for me. I am less interested in the reading comprehension than in the characters: “you” is the wounded sky-blue cat, and “he” is the lover not yet met. Is that right?

What is a sky-blue cat? Is it a cat dyed blue by sadness? I can only think of a certain cat-shaped robot.

Perhaps “sky-blue” represents purity. The cat is hurt precisely because it is pure.

I had not noticed that wordplay at all. It is interesting; Nana really is clever.

I always thought the speaker collapses while admiring that illusion.

My favorite lyric is: “When did you first appear there, and when did you move into my heart?”

Maybe sky-blue expresses purity. The pure are hurt precisely because they are pure.

How should “Marginal Man” be interpreted?

The meaning of “Koyoi Eden no Katasumi de” is unclear. Is it about a world at the end of the world, collapsing?

“Marginal Man” equals Nana, perhaps. As for “Eden,” I do not feel a particular meaning; bluntly, it feels casually written.

Because the marginal person belongs to no tribe, they are told to leave and jump into a river. The townspeople do not become happy, and while regretting it, the marginal person’s child comes to town. That is my interpretation. Someone else said “Eden” is the story of Adam and Eve, though I am not sure. I do not think the lyrics were written casually.

There is nothing wrong with that interpretation, but it is not kind to call someone else shallow. I can only hear “Eden” as a yuri song.

Thanks. I will reread the lyrics and interpret them in my own way.

Perhaps “nothing deep” is more accurate than “written casually.” I do not feel a strong motif or theme; it seems quite direct for Nana.

Could “Endless Desire” be a song about someone who committed a crime? The mystery, the second verse, “unable to escape,” and “gradually being imprisoned” all suggest someone fleeing the police and failing. If “blue” means a police officer, “out of blue” fits too. Some details do not fit, though. How do others read it?

I once wondered whether it might have been a candidate theme song for Conan. The melody and lyrics both seem to suit him.

What is the “blissful moment” in “Natsu no Maboroshi”? Please tell me.

Bliss means supreme happiness. Perhaps grasping happiness as it approaches necessarily involves some pain.

Thanks. The song feels empty or dreamlike overall. Does that mean it is ultimately a song about finding happiness?

What does the final image, “the town in the palm of my hand like the seabed,” mean to you?

I do not think the speaker reaches happiness. The song begins with a future-facing wish to live together, but ends in the past tense, standing beside a fading life. The life may already be gone. The town in the palm may be the small place they shared; every view contains memories, and tears distort it so that it looks as though seen from the seabed.

I see. Thanks.

I do not really understand the lyrics of “Trans Trap.” How do you interpret them?

I seem to remember seeing that “Endless...” was a song about an actress.

An actress...?

Possible motifs and references include “The Nightingale and the Rose” for “dreaming of love,” “The Hairdresser’s Husband” for “in little time,” the myth of Lyra for “Mikansei na Neiro,” “The Blue Bird” for “blue bird,” “City of Angels” for “flying,” “The Little Mermaid” for “Mizu no Nai Hareta Umi e,” “Arizona Dream” for “Jewel Fish,” “The Nutcracker and the Mouse King” for “Marionette Fantasia,” “Wings of Desire” for “Eien o Kakenukeru Isshun no Bokura,” Grace Kelly and Vivien Leigh for “Endless Desire,” biblical refuge cities for “Nogarê no Machi,” Novalis and “The Blue Flower” for “Kimi no Omoi Egaita Yume Atsumeru HEAVEN,” and “Hamlet” for “Haru Matsu Hana no You ni.” Sorry for copying this list; I do not know its original source.

“Natsu no Maboroshi” has accumulated many stories. The opening is almost certainly borrowed. There are also similar lines in Flipper’s Guitar’s “BOYS FIRE THE TRICOT”: “blessing approaching / it will come with sting.” I wonder whether the lyric was borrowed or whether both used the same source. It still feels like a song released before it was fully polished. It is nostalgic for me because I first heard it as a Conan ending.

Really? I also thought the opening referenced a Britney song. It is one of my favorite songs, so the possible lyric similarity is disappointing.

It is only a small fragment, not an unusual expression, and the wording is not especially similar. It is funny how quickly people call something plagiarism. Leave it to 2ch users to find a vaguely similar song and declare plagiarism.

I recently wondered whether “Natsu no Maboroshi,” “illusory life,” and “fading life” might refer to a cicada’s short life: remembering carefree childhood summers with someone—catching cicadas, swimming in the sea—and wishing to spend them together again.

That is an interesting idea.

I see.

It is only a tiny fragment. Please do not casually call it plagiarism.

Let us calm down first.

Even if you say “do not decide on your own,” criticism does not require anyone’s permission. If you dislike it, ignore it.

The jellyfish interpretation was something Nana herself said, so it is probably correct. I remember her saying the image came to her after hearing the music.

I had thought the white waves looked like wings behind the person standing with their back to them. So that is what the lyric means.

What does “words without love will not echo” mean? I do not understand it.

It comes from the Bible, from Paul: without love in one’s heart, even beautiful words cannot echo in another person’s heart. But interpreting lyrics is up to the listener; there is no single answer.

Can “Kono Fuyu no Shiro-sa ni” simply be Nana saying, “I hate spring! You idiots who say spring is wonderful!”?

Which song has the deepest lyrics? Of course, each song has its own depth.

That may be an impossible question. Personally, I would say “Sky” or “Wasurêzaki.”

I am not sure what “depth” means, but “Wasurêzaki” and “Kanata made Hikaro” fit their music especially well. All of them fit, really.

Correction: I meant “when it comes to depth,” not the previous wording.

I read it as refusing to leave an old nest and step onto a new starting point. Winter may symbolize a comfortable former nest or the past, and also suggests a period of staying indoors.

In “Kimi Tsuresaru Toki no Otozure,” why is “you” alone when the time comes to take you away?

Does “Rainy Soul” have a motif?

Perhaps Nana separated the words there because it was easier to understand that way. I do not know if it counts as a motif, but she apparently said on Gane Radio that she wrote it after rereading “No Longer Human.”

Rather than “the time to take you away has come,” I always imagined a pause after “you”—“You... the time to take you away has come.” It sounds beautiful.

Thanks. I am not a fan-club member, so I cannot listen to Gane Radio.

Thanks to both of you. It is beautiful.

In “Jewel Fish,” is the “six billion” part pronounced “sixty billion”?

Since the lyric says sixty hundred million, it should be “six billion,” but it may sound like “sixty billion” because of the pronunciation—or it may simply be a mistake. The truth is a mystery. The only certainty is that it is a masterpiece.

I thought the world population connected to the speaker was at most sixty million.

I see. But reading a printed “six billion” as “sixty million” feels like overinterpretation.

Is it really a traffic accident? In the line about the trigger in the crook of the arm, I wondered whether it meant a pistol and a double suicide.

Is it not simply a breakup? I always understood the trigger as deciding to end things oneself.

I also think it is just a breakup. Only the trigger line is unclear; the rest sounds surprisingly positive.

Calling “Jewel Fish” a traffic-accident story feels too literal. Its motif, “Arizona Dream,” includes a girl who kills herself with a pistol, and the film has many deaths despite its bright atmosphere.

The final English seems to mean “sea burial” or “bury me in the sea.” Perhaps it means burying my feelings for you in the sea, and asking you to bury yours for me too. Yuri may have imagined an aquarium, while Nana imagined water burial.

Water burial...

Why are the lyrics being treated like code?

What?

Someone in another thread interpreted “Blue no Mori de” through Snufkin and the Moomins. I thought that was interesting too.

Did Nana herself say the Bible connection?

What does “Last Love Song” ultimately mean: a proposal, a love song for the final lifelong partner, or a song saying “after all my previous relationships, you are the last one”?

Probably the middle interpretation.

Thanks. I thought the middle one was most likely too. I expected a heartbreak song from the title, but after hearing it I thought it would be perfect at a wedding.

I love it too and want it at my wedding, though a song with lines about one day being absent or falling down may be questionable.

What do those lines mean? “If you are gone, I will not be able to go on”?

I do not hear much negative meaning in “Last Love Song.” “You, who will one day be gone” may simply mean that precisely because life is finite, we should treasure the present.

Could “kimi ni” actually mean “kimi to”? Grammatically it can be understood that way: we will both die someday, life is finite, and until then we want to leave proof that we existed and loved.

That seems right. Its worldview resembles “the time comes to take you away” and the section about an allotted term of life. I love both lyrics.

If “last” means final, the song sounds positive. The “noise echoing” makes me imagine a room where cries echo emptily. To me, “last” means lasting.

The magazine MFM also interpreted “Last Love” as a song about meeting the best possible lover.

I have always wondered about the line before the chorus of “Yume Mita Ato de”: in a lonely night, does the speaker remember the days when they were loved rather than the person they loved, or the days when the person they loved loved them? How do others understand it?

When truly lonely, perhaps one remembers the times one was loved by various people. That is how I hear it.

I hear “Yume Mita” from the lover’s perspective, so the days when the speaker was loved matter more than the people they loved. Love and romance are selfish and blind, spinning their wheels and sometimes being lost; perhaps the song says that this is precisely why love never ends.

“Ushinawareta Monogatari” may have been influenced by Yosui Inoue’s “Kokoro Moyou.”

In a sense, it may satirize human nature: when lonely, we want to be loved. “In little time” seeks everlasting, inexhaustible giving; “Holy Ground” seeks a holy place where giving without end brings satisfaction. Yet people ultimately keep seeking something.

Nana admitted in a newsletter that her romantic lyrics had increased. Is she enjoying a sweet romance?

That is a deep reading: the blindness of romance from the lover’s viewpoint, and the irony that people ultimately keep seeking something. “Timing” also says, “Whatever your future is, what will become of my tomorrow?”—a shift toward thinking only about oneself. Am I the only one who likes “Timing” more each time?

“Bokura Dake no Mirai” and “Fall in Life” sound connected.

This is very useful as a reference. Thank you!

“If I could meet such an intense feeling filling my whole body, I would need nothing else. Even without knowing how to lose it, must I still live now?” → “Try to reach the holy ground that is filled only by continuing to give.” I relate to this too much. The lyrics are beautiful; although the song first sounds extremely dark, the more carefully I listen, the less dark it becomes.

My first impression of “Holy Ground” was the opposite of my considered interpretation: at first, “Why is this so dark and depressive?” Now it feels positive and hopeful. Few songs reverse their impression so completely. Its pain, danger, and dreamlike feeling are still attractive.

“Yume no Hitotsu” is too straightforward.

Being difficult does not automatically make lyrics better. It is fun to wonder whether there is another layer—or whether the literal meaning is all there is. I like “Yume no Hitotsu.”

I agree that obscure does not mean better. “Yume no Hitotsu” and “Koi no Aima ni” are so direct that I became depressed wondering whether they reflect Nana’s real experiences. People receive them differently.

How do you interpret “Hello Sadness”?

Why does that make you depressed? I am not trying to attack you; I was simply curious.

Because it feels as though Nana merely turned her own feelings into lyrics.

Lyrics are more or less like that. It is one valid way to write, though people differ.

“Picture of World” sounds like a song by someone immersed in the two-dimensional world. It feels like it is about me.

If you read Sagan’s “Bonjour Tristesse” while listening to it, the song becomes an “ah...” experience. You should try the book.

The lyrics around the second album are the best. Even in gloomy songs there is light and strength. They really heal and encourage me when I am down; the newer songs only show that occasionally.

Thanks. I will look for the book right away.

A paperback should cost around 400 yen and is thin, so it should be quick to read. As for “Ushinawareta Monogatari,” could its motif be Otsuichi’s “A Story That Has Been Lost,” or “The Lost Story of Jesus Christ”? I doubt it is Yosui’s “Kokoro Moyou.”

The tangled bonds fit together very well.

Are there any songs with Christmas-related lyrics? Probably not.

For example, “December no Yoru ni.”

My reading of “Picture of World” is a strong protagonist who builds invisible things—courage, confidence, bonds, pride, virtue—while living on, and who loves a woman with all his strength. The faded poster means that love, emotional investment, and convictions fade with time, but the protagonist decides to remain different. The song is deliberately open-ended, so many readings are possible.

In “Meguriku ru Haru ni,” how should we understand the line that sadness is not loss, but standing up again someday?

Several interpretations have already appeared starting from post 116.

I agree with post 117. It is sad to be forced apart from someone deeply loved, but perhaps even sadder that one day we may adapt, live without them, and even come to love someone else. Reading “Weekend” and “Hibi no Hotori” makes me wonder whether Nana once had someone she loved that much.

I completely understand. “Hibi no Hotori” conveys that feeling especially directly—not that the lyrics are explicit, but the emotion comes straight through.

I understand that too. When I listen to songs from the “funeral band” period, I cannot help wondering what would happen if people around Nana were really dying one after another.

Test.

Sorry for the late reply due to the posting limit. I understand the funeral-band joke too. When newer songs have similar lyrics, I even wonder who close to Nana died, then worry about whether Nana is all right.

I have wondered that too—the people around her seem to die constantly. What does “hummer” in “Go For It” mean? If it means a hammer, should it not be spelled hammer? A German dictionary says it can mean lobster. “Swing the lobster”?

It is probably a typo.

Lobster—this is killing me.

Too many people around Conan die as well. Since GARNET CROW is a mysterious band, it fits their theme songs in a way.

When I hear “hummer,” I think of a car.

Is there a gun called an Impact Hummer in some game? Nana likes games, and a gun would fit the lyrics, so perhaps that is possible.

A gun? I see. Semantically, a hammer still fits best. But would a mistake really be printed in the lyric booklet? I also wondered about Hummer the vehicle, though that makes no sense either.

Here: sixty billion.

Perhaps the speaker hates Hummers and wants to smash one with a hammer. That is a stretch, though.

Does “Hummer” refer to the one from Kura Sushi?

After reading various discussions, I started to think Nana has a special attachment to the sea. It is almost portrayed as an isolated world. In songs such as “Mizu no Nai Hareta Umi e,” “Yellow Moon,” “Sagashite Mimashou,” “Namida no Yesterday,” “Hibi no Hotori,” “Kimi to Iu Hikari,” and “Natsu no Maboroshi,” the sea feels both like an origin and a dangerous place—something that causes people to lose things. I still cannot understand “the trigger in the crook of the arm” in “Jewel Fish,” or the “last love song” that stops time while an old player keeps turning. The first half of “Last Love Song” sounds like a deep, pure love song, but perhaps it connects to the other songs.

For “Last Love Song,” post 645 in this old thread has an interesting interpretation: http://mentai.2ch.net/philo/kako/1017/10177/1017760997.html

That review is terrible and completely useless as a reference.

I did not expect that old poster to still be around.

Nana.

I remember Rage. Is Rage still on the philosophy board?

“Cold Shadow” is great.

Personally, Yuri in “Go For It” on the ten-year Best album looks unbelievably cool.

“Stabbing wildly...”

I remember “hummer” may mean someone who hums. Sorry if I am wrong.

“I will heal you in this place I created.”

“Over Drive” has been released. What does it look like from the perspective of a lyric-analysis thread?

“Overdrive” means driving a person, animal, or machine beyond its limit, but I cannot connect that very well to the lyrics.

Driving something beyond what is necessary, making it run empty—I think that may be the feeling.

I checked, and “hummer” really is a word meaning someone who hums or a hummingbird. Still, I continue to hear it as hammer.

As Nakamura said at the Toyosu event, I think “Over Drive” is written along Ran’s feelings for Shinichi. It is best to consider Ran’s lovesickness when interpreting the lyrics.

The line “waiting for the day I meet the real you” is very direct.

“Kaze to RAINBOW” and the song “Those Were the Days” sound exactly alike at the marked timestamps. Wow. A new single with a god-tier tie-in sold only 13,823 copies in its first week—lol.

A classic.

In “Matsuri no Jikan,” what does “people I will meet again someday / people who only brushed past me that day” mean? Are the people who pass at a festival destined to meet again someday, while others are fated to miss one another without knowing why? “Human crowd” is an interesting phrase—Nana is amazing.

They are different groups: some are people one will meet again someday, while others merely brush past one on that particular day.

And then there is the silent kiss with the fake you.

“Over Drive” can also mean an overheated state, so perhaps it expresses Ran’s feelings.

JUDY AND MARY.

Some people interpret the illusory life and fading life in “Natsu no Maboroshi” as Conan. What do you think? I can see it; they have said their Conan tie-in songs are basically written around Shinichi and Ran.

If the real you is Shinichi, then the fake you is Conan. “Natsu no Maboroshi” is interesting.

I think “Natsu no Maboroshi” is about a cicada’s brief life.

Perhaps “Natsu no Maboroshi” simply means a certain life. The fact that 命 is read as maboroshi supports that.

Maybe “the real you” means the you who can honestly say what you feel. Could “Over Drive” be the story of two people who cannot be honest, separate for various reasons, yet still want to start over?

In “Mawarimichi,” is the lyric “someone who lives only in memory”?

If so, would “Naked” become “the knight moves forward”?

I thought I was the only one who heard it that way. I am touched.

Whatever the interpretation, it really does sound like a Conan and Ran love song.

I always thought sixty billion was pronounced “sixty oku.”

This thread is quiet. In “Trans Trap,” I understand the lines about treating your wounds gently and the scars never touched, but what does “in your hands, dazed, disguised as a trap that looks like chance” mean? I love the lyrics and music, but cannot make sense of it.

Perhaps the “you” who keeps running away is playing romantic push-and-pull. The singer notices and deliberately goes along, but is tired of the game and wants to heal the other person, so the words come out angrily.

I see. I do not understand romantic push-and-pull very well, but that interpretation works. Thanks.

“Trans Trap” resonates strongly when heard while in love. It may mean that you do not need to hide your weakness or disguise yourself: because I love you, you can show me everything. The singer seems exhausted by the other person’s push-and-pull.

I am a stray cat!

There is such a good thread here. My imagined story for “Yuudachi no Niwa” is an affair discovered through footprints in a rain-soaked garden: a woman returns early and sees the footprints of her lover and another woman. It is probably completely wrong, but I cannot stop associating the song with a woman betrayed by her lover and breaking up.

I feel I have read a similar story in a novel. Perhaps that was the original.

I also hear it as a song about a couple where one person’s heart has already left. Nothing can be done, but the speaker will not cry anymore—or will keep trying even while crying. I do not know whether they lived together.

Interpretations naturally differ, but I do not think it is quite that simple.

If possible, please tell us your interpretation too.

It is not definite enough to call an interpretation, just a vague idea. Some things are decided at birth and cannot be changed—gender, ancestry, name, surroundings, and place. One can pretend not to notice and live day after day, but eventually those things make one feel the unchangeable fate or future again. I think it can be read as more than romance. The verses outside the chorus fit this reading, though the chorus feels different. Sorry that I cannot explain it clearly.

Thank you. It is interesting that different people hear different meanings. Songs really are living things.

Has anyone suggested that “Marginal Man” and “Rusty Rail” are connected—that the “you” awaited by the protagonist of “Rusty Rail” is the marginal person who was driven away?

Has anyone read this? http://www.amazon.co.jp/dp/4105090089

When I listen to “The First Cry,” I wonder what Nana had in mind when she wrote it.

Does “The First Cry” mean a baby’s first cry? My reading is that the first verse covers pregnancy and childbirth, while the second describes the wife’s death and the husband and baby left behind. “Do not leave; let me watch the end” means the end of childbirth. “If prayer cannot heal sadness, let us share the pain” means the man cannot understand labor but can at least cry with her. The long journey is pregnancy, the sought peace is a happy family of three, and the endless pain is the wife dying in childbirth. The important thing is the baby’s happiness, while the missing wife remains an absence that cannot be filled. If one day the speaker will go to her, he can live without fearing the present. I wish Nana would reveal the true interpretation.

I think this is about Che Guevara’s first cry as a revolutionary at a leprosy hospital. Nana reportedly said she wrote it with respect for Guevara.

I did not know about that interpretation. I need to study more.

My reading is completely different: it is a song mourning someone the speaker could not be present to see die. “Let me watch the end” means not witnessing the final moment and wishing to cross time and space to do so. The long journey is life, and the sought peace may be a peaceful death. Thinking that one day the speaker will go to the person’s side makes it possible to live now. I always interpret things darkly; I know almost nothing about Guevara.

Guevara... I looked him up on Wikipedia, but I still do not understand.

Go to Tsutaya.

What is the source of “Mikansei na Neiro” again?

I do not know.

It is the myth of Lyra in Greek mythology—the story of Orpheus.

What does “like the sun before Genesis” in “Futari” mean? Does it mean there was nothing?

Thanks for the information about Lyra.

I found an interesting thread. I heard that “Mayoi no Mori” was based on the ballet “Giselle.” Did Nana say that? The imagery certainly overlaps. Does anyone know the source of the rumor?

It was mentioned in a fan-club newsletter. “The Crack-Up” apparently takes its motif from Fitzgerald’s “The Crack-Up.”

I did not know “Giselle,” so I searched for it. The second act is terrifying. Is the forest at night a world of the dead? I would not want to get lost there.

Thanks. I did not know “The Crack-Up” had a source either. I will read about it.

The connection briefly made me think, “Oh!” But Marginal Man was driven away, while the “you” in “Rusty Rail” sounds as though they left by choice, so perhaps they are different.

While listening to “The Crack-Up,” I felt I should buy Hikari Ota’s book. I searched for “Apollo’s Bird” but may have the title wrong. I translated a few lyric lines before reading the source and will leave them as they are: “Snow, a miracle, will not fall endlessly on a shoreless world”; “the moon keeps waxing and waning”; “the world can change shape in a day like a fleeting moment.” My English may be poor.

I do not know what you are trying to do.

If there are other books Nana has read that you recommend, please tell me.

I would like to know too. Films as well as books would be welcome.

In the final chorus of “Yasashii Ame,” does it mean that your love and my love are different, so even if we meet now it will not work?

Is it not simply wishing that the love could be mutual? I do not hear a negative impression.

It can mean wishing for mutual love or shared values. I hear a slightly negative shade: the speaker gives up the person they love for the sake of pursuing a dream. Yet that is not truly negative because it comes from valuing the other person. “Wasurêzaki” and “Mawarimichi” have a similar feeling.

I am the person from post 285. Yes, people hear different things. It is really deep.

Crying emoticon.

Fried chicken.

Could “Blue no Mori de” be a song built around the image of the sea?

Reincarnation.

What do people think of “Yume no Hitotsu”?

It is the raw, painful feeling of heartbreak.

Is “Hi-Speed Special Oneday” a song about a drug addict? Am I overthinking it?

The title is too straightforward, lol.

What about “Crier Girl”?

“What, are you asleep? It is sunny today.” Is this based on a real experience?

A well-known blog published an article titled “AZUKI Nana’s Elegant Word Choices.” I cannot post a personal blog link, so I will quote only the title.

What do you think of “Natsu no Maboroshi”?

Bump.

I am looking forward to the next album too.

Is “Eiyuu” based on Yamato Takeru?

Maybe it is based on “Legend of the Galactic Heroes,” since Yuri likes it.

I went to the mini-concert in Abeno, Osaka. In the second show Yuri clearly said “Eiyuu” was inspired by Yamato Takeru, and Okamocchi said the same at the first show. They joked about the name Hide-o; apparently Hirohito Furui initially reacted, “Hide-o...?” and froze.

I think “Float World” is a song trying to stop someone from committing suicide. What do others think?

I think “Float World” is a song trying to stop someone from committing suicide. What do others think?

I remember feeling that happy moments pass quickly, that sometimes not knowing the truth is happier, and that everyone lives while holding a vague image they have drawn for themselves. Even so, floating through life is not necessarily bad. I never thought about suicide, though.

Is “Souseiki” a song encouraging people to have children?

I am a university student, and my brain smells like marijuana.

I am getting high listening to GARNET CROW.

Come listen to hip-hop.

A-THUG.

No... this is off topic.

I am high again.

On my beat.

It is an [age] post. The weather is good and I feel great, as if I might go cycling later, so I am bumping the thread. Which GARNET CROW lyric is the best for an “age” post?

I am a GARNET CROW fan, but I am already high.

I do not know even one of their songs.

Thank my parents, then explicit sexual spam.

Sabu-chan should rap too.

Enya is good.

GARNET CROW fans seem like honor students. I want to sleep with girls like that.

Hey! Is this a dead thread!?

Let us get high together.

Light it up.

Off topic: if anything, it is the remains of a homeless person.

I should have noticed sooner... Are you doing [explicitly redacted] something? Sorry if not.

I cannot say without knowing what the blank stands for.

Testicles?

Kendo.

In “Elysium,” does the “mono” in “people are things that betray” mean “people inevitably betray” or literally “people who betray”?

You are too high; I have no idea what you are talking about.

Please spare me.

MUCC are so cool.

Should I buy a five-string bass?

I need to practice slap.

I will think about it later.

Which effects pedal should I buy?

I want a tone with prominent low and high frequencies.

Yahoo! I need a mohawk wig and a motocross bike. I will make a custom club and set off on an adventure!

I want to make post-rock.

I will use a four-string bass for it.

Show it to me, lol. It is too dark to see, and the subject is backlit. Try raising your hand. If I am wrong, it is mohawk plus motocross, haha!

GEEK is incredible.

This is the kind of beat I mean.

Go rap to the other poster.

Let us chill together.

You call that nerdy... chill? “Chillout” is a general term for relatively bright, slow-tempo electronic music created by electronic musicians, a term originating in the 1990s from slang meaning relaxation.

For example, Steve Reich.

I am flying on BD.

I am getting extremely high on alcohol and smoke.

It feels crazy, and it feels good.

I can get this high using only legal substances.

GARNET CROW fans, let us have sex.

How extreme are you people?

Someone please stop him...

GARNET CROW? What idiots.

I cannot stop; I cannot quit.

I made a pretty good beat.

Let us rap.

Let us get high together, idiot!

Roll another one.

I am high.

EL NINO is incredible.

Representing Fukuoka.

I cannot stop—and I can keep going without stopping.

Olive Oil beatz.

Why did this become like this? I am an idiot.

Crams Casino is incredible.

Influenced by this person, I sold my MPC and kept only Ableton.

Electronica and hip-hop.

I have to fuse them together.

In the end, it is all sampling.

There was no escape route from the beginning.

I have decided to make experimental minimal music.

I should buy Reason.

A street-corner interrogation.

Let us buy life insurance before flying.

I do not really understand the lyrics of “Elysium.” Is it about a long-distance relationship with a feeling of uncertainty? The other person does not seem to be dead.

Ichiro Aizawa.

“Koi no Aima ni,” “Blue Regret,” “Tell Me Something,” and “Nagisa to Secret Days” make me feel a little depressed. Even early songs such as “Happy Days?” are not really my type. The “floating in the sky” songs are amazing, though, and “Kimi to Iu Hikari” and “Sky” are very deep. I especially love the lyrics of “Yasashii Ame,” “Az the dew,” “la-la-la Sorekara 1・2・3,” and “Only Stay.”

I also imagined “Blue no Mori de” as Moomin and Snufkin. The lines about telling you everything seen so far, traveling through your heart, and you leaving when the next season arrives made me think of Snufkin leaving before winter and returning in spring.

A.

Aozora → Blue Regret. That connection seems possible.

Looking back at recent lyrics and videos, I get a bad feeling and think of death: skies, feathers, flying away, falling videos, collapsing videos, “Parallel,” “Memories,” and so on. How do Nana’s fans interpret this?

What has happened to GARNET lately? “Memories” is not bad, but the singles keep setting new personal lows for me.

You are only noticing now? That death imagery has been there since the early period.

In “Kaze no Naka no Orgel,” what does “delivered on an August morning” mean?

Only flowers arrived on the birthday; the important person did not.

Keeping the thread alive.

I genuinely do not understand the lyrics of “Crystal Gauge.”

I enjoy the second verse by feel, but the first verse is a mystery. I wonder whether it might be connected to “Rainy Soul.”

It is a song about a lover who has died. The empty room is the room left behind after the loved one’s death. There is no reason to remain because the lover is no longer in this world, yet the speaker feels they have forgotten something. Having to leave the lover’s scent behind symbolizes being unable to accept the death.

I completely agree with post 482. After reading everyone’s comments, I think I should pay more attention to the lyrics. I love GARNET CROW, but thinking about exactly what I like and why unexpectedly made me connect the songs to my own personality.

When I first heard “Sky,” I understood nothing, but later realized what extraordinary lyrics they are. Even now I only grasp them vaguely.

I have always wondered what “slide” means in “I want to slide your heart” from “Rhythm.” Can anyone tell me?

It means quietly slipping into your heart.

Ah, I see. That clears it up. Thank you.

Let us discuss the lyrics on the new album.

“Over Drive” has a dreamlike atmosphere and a hazy, dreamlike state of mind.

“Over Drive” has a dreamlike atmosphere and a hazy, dreamlike state of mind.

The lyrics of “Trade” give me an impression of self-sacrifice, which surprised me.

Are they disbanding...?

GARNET CROW started out brilliantly, but being consumed through the Being-style production system ruined things. In the end, the production method determines how an artist lives and dies. Kobayashi Takeshi balances commercial appeal and artistry well—Mr. Children sells enormously but is not shallow, and Entown Band is excellent too. I wish someone like Kobayashi would produce them. It is a shame to see such talent consumed.

Isn’t Mr. Children shallow too?

Maybe someone has already mentioned this, but is the “igai” in “Only Stay” on the third album a typo for the homophonous form meaning “unexpected”?

I am listening again after a long time following a breakup. GARNET CROW is incredibly penetrating.

The post describes online right-wingers as socially maladjusted, racist shut-ins and NEETs who rely on Japanese identity for status, attack Koreans and North Koreans online, believe the Korean Wave is covert marketing, and hypocritically praise Japanese products while attacking a long list of companies, groups, and public figures. It concludes with a caricature of their low social status, income, and interpersonal skills.

The phrase “inside my heart” feels strongly out of place to me.

I read the whole thread. I was shocked to hear for the first time the theory that the lover in “Natsu no Maboroshi” has already died. Listening again, I wondered whether the “strong offshore wind” section might instead suggest a drowning accident.

My view of “Natsu no Maboroshi” is close to the analysis site mentioned at the beginning. I think it depicts, from the lover’s perspective, one summer with a seriously ill “you,” up until death. The summer illusion is the former healthy you. The contrails outside the room window at the beginning connect to the town seen in a palm like the seabed at the end. The speaker repeatedly sees the summer illusion while looking at the sunset through the window. At first there is still time to argue, meet in a hospital, and hope to live together. In the second verse, the offshore wind and waves show the illness worsening as time passes. The chorus says prayer can no longer reach the person and that the closer they stand, the farther away they feel. At the end, the speaker stands beside the fading life in the final summer illusion. Now they can no longer look up and notice clouds; they look down at the lifeless town outside through a dark, seabed-like self.

Since GARNET CROW has also disbanded, I indulged in this elaborate daydream about my favorite song. Even so, it still does not feel quite right. I suppose it is not a question of being correct or incorrect.

Emotion is the engine of the body; if it is not properly organized, the body cannot move.

I first discovered “Happy Pet” through All Lovers. I am a new fan, but it is genuinely wonderful and my favorite on that album.

Tokyo Nomura Securities. Okinawa sea yakisoba. Repeated three times.

Tokyo Nomura Securities. Okinawa sea yakisoba.