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Lyric Translations, Reviews & Recommendations


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Uchu Conbini interview in Jungle Life English Translation

Kyoto’s first “Progressive Pop” that dyes the heartfelt with sound.

 A soft sound that gently entwines played in a technical instrumental way, in addition to the female vocals that is transient as relaxing floating around. Musical roots with a high degree of difficult that lead to progressive rock, post-rock, and even math rock, to reach our very own “Pop”, Uchu Conbini was sublimated in a flexible sense that has passed through J-POP. The fact that these 3 members that came from Kyoto with an average of 21 years of age created their own sound that combines friendliness and grandeur just as the band name evokes. I asked about their first national release.

 “When speaking “after affirmation”, it means that the 3 members dyed their own sound to each of their listeners.”

 *Firstly, how did the band name “Uchu Conbini” came into origin?

Emi-choco: Well, we applied the meaning as a type of music grandeur as space, and yet as familiar as relation to a convenience store.

Daijirou: At first, the concept we had was “let’s do magnificent music!” however in the end, the 3 of us really like pop music. So we combined the two of them as a concept.

*Under that concept, the 3 of you gathered?

Daijirou: Before I was in a band with the same name, at that time we were more strongly colored as rock. After the band disbanded, I thought “I want to do music that will make a wide range of people want to listen”. I invited Emi-choco, and then with the two of us, that is what made Uchu Conbini is currently.

Nasuo: It was 1 year ago that I joined as a support member, I was officially made as a member around a few months ago. I thought it was my eagerness to perform my favourite music live together, but rather it was my heart’s desire that has been granted.

*Is your current style of music like this from the beginning?

Daijirou: At first, we were trying to be an instrumental band but since me including the two them love singers, we talked about “wanting to include some guest vocals”. And then it was at that time when we couldn’t find anyone who will do, I asked Emi-choco realizing that she has a great voice “Why don’t you sing?” I persuaded her in a sushi restaurant and received a decision. (laughs)

*So you persuaded her in a sushi restaurant. (laughs)

Daijirou: From there on, we did songs with vocals also continuing doing instrumentals and that’s how we are shaped right now. To me, I don’t think that the concept in the beginning has changed but since Emi-choco began to sing, the songs with vocals has increased.

*Did Emi-choco resist from singing?

Emi-choco: Since it was my first time to be on vocals, I actually resisted at first. I wasn’t confident with my voice, I didn’t want to sing in front of people. However when I was trying, I practiced by myself on “I wonder how can I sound good?” and I gradually enjoyed it. I was happy to receive a lot of impressions from the listeners, I’m happily doing it right now.

*When you were doing it, you were gradually enjoying it?

Emi-choco: It was my first time doing the vocals and bass at the same time, so I practiced very much. I think it’s good that emotion is transmitted more directly than the instruments. Ever since I began to sing, the feeling of “want to convey” became even greater.

Daijirou: Because of our feelings of wanting to let a lot of people listen to us, we are also aware of its easiness to listen.  Such factor might have been gradually coming out.

Nasuo: Compared to before, the ratio of instrumentals have clearly reduced.

*Were instrumental and post rock music originally became your roots of music?

Emi-choco: It was around when I was in junior high I started listening to music. I was listening to different kinds of music such as post rock at that time. However in a period of time, I was heading to extreme (music), like going into Mr. Big live concerts (laughs). At my freshmen year in high school, I started playing the bass, I focused on listening J-POP & J-ROCK.

Nasuo: At first, I always listen to J-ROCK, but when I was in my 3rd year of middle school, I came across Dream Theater. It was after that I got addicted and started listening to progressive music. Even now, Daijirou let me listens to various kinds of music. Little by little, it’s changing.

*Is Daijirou the one who listens (to music) deeply?

Daijirou: Personally, I think it’s pretty jumbled up, I’m listening to all kinds, like old progressive-like bands such as Hella and tera melos, also the latest math rock. It’s those kind of roots I have, I also like to listen to J-POP or something POP-like and I feel they are expressed by fitting it in a form that’s easy for the listeners in Japan to listen. That is what I wanted to do in a band.

*Are the lyrics intentionally abstract? Or rather is it to let the listener feel their imaginations run about?

Daijirou: I don’t think we are writing it too directly. And also, in the end, we are conscious to finish every song in a positive form. Rather than on the lyrics, it is that we are conscious about when we are writing our songs. Also things such as the 2nd half of the outro, the proactive sense of sequences, and chord progressions, we are more focused on them when we are writing our songs.

*And it is because of that when I listen to your songs, there were a lot of times that I’ve been able to feel the light.

Daijirou: I think that is exactly the case. I think it’s the image of being able to feel the light.

Emi-choco: I’m also conscious of such case that I put them in pretext on my basslines.

Nasuo: My impression when I listened to it was “Ahh it’s so beautiful”.

*By singing and using instruments, isn’t the image of producing sounds close to painting a scenery?

Daijirou: I think that impression is indeed close in a sensible way. Every time I think of bringing up a song, and when we three combine our sounds, the song changes. And become that there were times we thought “We have created a ridiculously great song!”

*When the two add their sound in Daijirou’s original song, won’t the song be hugely corrupted?

Daijirou: When we play to combine our sound, these two will certainly add their own color, so I don’t think the song I wrote will not fall one-sided on my side. We all have a good sense of balance on our part. Right now, I think there are times that these two can make (sound) something that they can produce, so I’m quite satisfied.

*That is because Emi-choco and Nasuo both have their own original color as a player right?

Daijirou: I agree. Nasuo says that he himself doesn’t have much personality, but actually he has a great habit of strong drums. When he plays “Ahh it’s so Nasuo”.  Even though he is playing the same song, to other people, it’s feels different. Also for example, even though Emi-choco’s fingering on her bass is not so much difficult, since it’s so melodious that you can always hear it. These two are definitely characteristic, they have strong habit as a player.

*Is Daijirou’s guitar also the same?

Daijirou: Well, yes. (laughs) It’s because I don’t play the guitar normally…

*You do tapping and arpeggio a lot right?

 Daijirou: I do them on parts that might get stuck on the ears, I also do chords that backup the vocals in order to let it rise.

*In the 1st mini-album “Someru Oto wo Kakunin Shitara”, were there songs in it that were newly and technically challenging?

Daijirou: The 5th track “strings” uses an acoustic guitar, so it was recorded at the last minute, thankfully we made it in time. It’s also a challenge for me, the drums also it’s a song that challenges something new. Regarding the bass and vocals, I don’t have something to say, I don’t know myself. (laughs)

Emi-choco: At those times, I just wing it. (laughs) However, when I add my basslines, I match the ambience of the music played by both of them a lot.  And so even though I’m not doing anything especially new to my bass (playing), Overall, I think I’m doing something new for the song.

*The 3rd track “tobira”, now with an MV, Emi-choco wrote the lyrics only by herself right?

Emi-choco: I wrote others too, but they were rejected. (laughs) Personally, I write up lyrics and save them for the future, but when Daijirou brings a song to us, it already has lyrics and melodies, I have only written lyrics in one song for Uchu Conbini.

*Usually when Daijirou writes the lyrics, is it already thought it out after a song is finished?

Daijirou: Yes, exactly. In that case, I also talk it out with Emi-choco. Regarding “tobira”, I created the song from Emi-choco’s lyrics. Matching the melody with the lyics, when the song was done, it blended so well. I call it “the one song miracle”.

*From here on, the pattern of Emi-choco writing the lyrics first, and then Daijirou making a song out it, is quite possible right?

Daijirou: I also feel it is. But for me, an ideal pattern is that Emi-choco writes a whole song.

*Not just the lyrics, but a whole song, so it’s ideal that Emi-choco writes it herself?

Daijirou: However, since Emi-choco doesn’t have much experience in making songs, if she intensively does that part, we are able to look at a new Uchu Conbini.

Emi-choco: (in a small voice) ….I’ll do my best.

All: Hahaha (laughs)

*It is your first national release right? To you, what has your work(performance) has done?

Nasuo: To me, It feels like a whole year.

Emi-choco: While introducing us as “Uchu Conbini is this kind of band”, I feel our work(performance) we have done is “from here on”.

Daijirou: I also intend to clearly present our musical direction in this present phase, and from here on will sharpen it, “violently bam bam!” kind of feeling. (laughs)

*Why are you mad?…

Daijirou: it’s a “Listen to current selves” kind of work (performance) we had done, but I also think “we won’t let it end at this rate” (laughs)

*We can still play! (laughs) How did you think up the title “Someru Oto wo Kakunin Shitara”?

Daijirou: We thought this up from the album as a whole. To each of the listeners, we want them to be dyed with our sound in which are feelings are mixed in. When speaking “after affirmation”, it means that the 3 members dyed their own sound to each of their listeners. As a definition, it is quite close to “Conviction”, but as word, in acknowledgement, “affirmation” is a more exact.

*Each of you, you were able to bring confidence into your works.

Emi-choco: We were really into it when we made this album, so I really want a lot of people to listen to it. The sound in our live is quite different, so please by all means come to our first recording event.

Nasuo: Uchu Conbini is also a live band, so please come to our live.

Daijirou: If I were to say something about Uchu Conbini, I say we are a monster of curiosity. I want people to think of that, so please by all means come to our live. If they come to our live, when they get dyed by our sound, they will be convinced.

Interview by : IMAI

source: http://www.jungle.ne.jp/sp_post/%E5%AE%87%E5%AE%99%E3%82%B3%E3%83%B3%E3%83%93%E3%83%8B/

 

 

 

 

 

 

 

 


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Tricot – おもてなし

Tricot – Omotenashi ~Hospitality~

Song: tricot
Lyrics: Nakajima Ikkyuu
Translation: Kafka

This horrible wind would not be heard in world
Women acting innocent flutters their hair
Cigarette smoke passes through
Escaping by alcohol
I’ll be meeting the lightness in the morning
My trail of steps are not aligned

Tonight, the concrete has a rough temperament
I’m cautious with my feet since nobody will help me
Ways to slip through the police are just all lies
This hot breath of mine travels a little more closer

“Ahh don’t be conceited, the hospitality has already ended”

No matter how beautiful women get dirty,
they can still become charming and weak is all the more scarier
Won’t you hate it also? It all ends with a spit of saliva

Returning on the indication of shop model who wants to live life without curves, her eyes are sparkling like a fish’s eyes

In this filthy world, isn’t sadness a normal thing right?
With no memories of the fragrance of mistakes,
it ends with a change of saliva

Hey, I’m already here, I haven’t brought my dancing shoes though
I’ll let you inherit this satin’s gloss, “I have to back now”

Romaji:

Kono hidoi kaze mo konoyo de wa kikoe nai
shira bakkureru onna wa kami o nabikase
tabako no kemuri surinukehashiru
sake wa nukeru
karoyaka na asa o mukaeru
ashinami sorowa zu

konya konkoriito wa kishō ga arai
ashimoto ni chūi dare mo tasuke te wa kure nai
keikan surinukeru yajirushi wa subete uso
motto chikaku e atsui iki no todoku tokoro de

‘ā unuboreru na mō omote nashi wa owari da’

bijo wa yogore te mo miryoku teki de otoroeru koto ga naniyori kowai
kimi mo kirai ni naru no kai ? [?] tsuba o hakare o owari i

shiji ki modoshi te mada magara zu iki tai kanbanmusume sakana no hitomi kirakira

yogore ta sekai de wa kanashii koto ga atarimae na no desho u
kioku ni nai goban no kaori tsuba ni kae te o owari i

nē mō watashi wa koko de odoru kutsu motte i nai no
saten no tsuya ga isan o a ge ru ‘mō kaera nakya’

Kanji:

この酷い風もこの世では聴こえない
しらばっくれる女は髪を靡かせ
タバコの煙すり抜け走る
酒は抜ける
軽やかな朝を迎える
足並み 揃わず

今夜混凝土は気性が荒い
足元に注意 誰も助けてはくれない
警官すり抜ける矢印は全て嘘
もっと近くへ 暑い息の届く処で

「あぁ自惚れるな もう オモテ ナシは終わりだ」

美女は汚れても魅力的で衰える事が何より怖い
君も嫌いになるのかい? ツバを吐かれお終い

指示器戻してまだ曲がらず生きたい看板娘サカナの瞳 キラキラ

汚れた世界では悲しい事が当たり前なのでしょう
記憶にない誤番の馨り ツバに変えてお終い

ねぇもうわたしは此処で踊る靴持っていないの
サテンのツヤがイサンをアげる 「もうカエらなきゃ」


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Tricot – C&C

Tricot – C&C

Song: tricot
Lyrics: Nakajima Ikkyuu
Translation: Kafka

In the darkness, blank stare, bathing in the TV light
Someone’s voice, I don’t need it inside my head
Just by nodding, the words slip through
Just by nodding, the words slip through

Now with one part of my body lost
It’s a sandstorm of bad memories
Desperately, the sounds of emotion, I erased them
Desperately, the sounds of emotion

The long winter transcends into the next day
It was so sunny and clear
My hand grabbed the curtain
I remembered you squinting at the light

Even with the anesthesia dissolved, reality won’t come back
My head is so heavy that it feels it’s being wrapped up
I want to fall asleep, I can’t fall asleep, I want to fall asleep
I want to fall asleep, I can’t fall asleep

Outside of the 7th floor window of the hotel
You were there,before the morning sun, upside down
“Look, the morning sun is falling”
I cried, I cried as you were falling

Romaji:

Kurayami, bō tto, terebi no hikari abi te
dare no koe mo haira nai atama de
unazuku dake kotoba wa surinukeru
unazuku dake kotoba wa surinukeru

karada no ichibu ga nakunatta ima wa
warui kioku o sunaarashi de
hisshi ni kanjō no oto kakikeshi ta
hisshi ni kanjō no oto

nagakatta fuyu ga ake ta tsugi no hi
sore wa totemo hare te i te
kāten ni te o kake te
hikari ni me o hosome ta kimi o omoidashi ta

masui ga toke te mo genjitsu modore nai
tsutsumareru yō ni atama ga omotai
nemuri tai, nemure nai nemuri tai
nemuri tai, nemure nai

hoteru no nana kai no mado no soto
kimi wa asahi o sakasa ni
‘mi te, asahi ga ochi te ku’ to
naite ta, nai te kimi wa ochi te tta

Kanji:

暗闇、ボーっと、テレビの光浴びて
誰の声も 入らない 頭で
頷くだけ 言葉はすり抜ける
頷くだけ 言葉はすり抜ける

体の一部が無くなった今は
悪い記憶を砂嵐で
必死に感情の音 掻き消した
必死に感情の音

長かった冬が明けた次の日
それはとても晴れていて
カーテンに手をかけて
光に目を細めた君を思い出した

麻酔が解けても現実戻れない
包まれるように頭が重たい
眠りたい、眠れない 眠りたい
眠りたい、眠れない

ホテルの七階の窓の外
君は朝日を逆さに
「見て、朝日が落ちてく」と
泣いてた、泣いて君は堕ちてった


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ハルカトミユキ – かたくてやわらかい

Haruka to Miyuki – Katakute Yawarakai ~Hard and Soft~

Song: Miyuki
Lyrics: Haruka
Translation: Kafka

I’ve caused a stir again
I reached into
The depths of your heart (Unlocking it)
Gently opening the door
Laying bare
Folds of your heart

I was singing “ran ran ran”
Like mundane dreams
Waiting for something that hasn’t been born yet
Being alone with you
Is like being entwined with eternity (Begin the flow and open up my body)
Gently tracing the end of my train of thought with my fingertips
As I come apart

As I pledge on this
(while intermingled)
Vague feelings, I’m living clumsily
Aahh, Right now
(like the wind blowing)
Good night, good night, I can’t put a stop on it
On this night too
(At least, make a song out of it)
Ahh, sighing, blinking, and then lie

I’m aching again,
I gently
Scoop up the words

Snuggled together with this inconclusive unwanted situation
Sleeping and comforting each other
Covered with embarrassing wounds
Being alone with you
Is like swallowing day-to-day afterimages (My exposed heart hurts so much)
The love in this vain life is being gently protected by my fingertips
Like a prayer

As dead as it is
(Spun one-by-one)
This valuable song, where is it heading?
Aahh the seasons
(We always notice them after they have passed)
Leaving behind this empty-shell, I can’t put a stop on it
On this night too
(Come on, it’s just…)
Aahh a sigh

As I pledge on this
(while intermingled)
Vague feelings, I’m living clumsily
Aahh, Right now
(like the wind blowing)
Good night, good night, I can’t put a stop on it
On this night too
(To the very least, it’s a song ingrained and unforgotten)
Ahh, Sighing, Blinking in Tranquility
This blurred happiness is still a never ending sorrow

Kanji:

また、騒ぎだした
胸の奥に
手を伸ばした (鍵を開ける)
そっと ドアを引いて
さらけ出した
心のひだ

らんらんらんと歌っていた
ありふれた夢のよう
生まれない何かを待っていた
君とふたり
延々と絡まっている (流れ始める 体を開いてみたら)
思考回路 の端っこを
指先でそっとなぞっていく
ほどけだした

あいまいな
(混ざり合っているまま)
思いをちぎりながら 不器用に生きてる
ああ、今は
(風が吹き抜ける ように)
おやすみ、おやすみ。とりとめない
この夜も
(せめてただ 歌にして。)
ああ ため息 まばたき そして嘘を。

また、うずきだした
言葉そっと
掬い上げる

ずるずると寄り添っていた
恥ずかしい 生傷を
慰め合って眠っている
君とふたり
食べ散らかす日々の 残像 (開いたままの 心はとても痛いよ)
味気ない生活に愛を
指先でそっと護っている
祈るように

大切な
(ひとつひとつつむいだ)
死んでしまったなら 歌はどこへいくの。
ああ季節は
(いつも過ぎたあと 気づく)
ぬけがら、残して、とりとめない
この夜も
(ねえただ)
ああ ため息

あいまいな
(混ざり合っているまま)
思いをちぎりながら 不器用に生きてる
ああ、今は
(風が吹き抜ける ように)
おやすみ、おやすみ。とりとめない
この夜も
(せめてただ 染み付いて 忘れない 歌にした。)
ああ ため息 まばたき 安らぎ
ぼやけた しあわせ まだ 終わらぬ 憂いを。


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Tricot – Last Step

Tricot – Last Step

Song: tricot
Lyrics: Nakajima Ikkyuu
Translation: Kafka

In a far off sea, I’ve found your footprints, but this doesn’t prove anything
Still, all I could do was swim

I’ve become a human being, with these legs granted from a witch
It’s the last step on this sea in which you can’t go back to

One morning I got my wish, I received these legs just to be able to meet you
And yet I still can’t keep up with you as I remember tiptoeing and tapping my heels

I surrendered myself to the waltz while accepting my unrequited feelings
I repeatedly danced with my feelings for you so that I won’t ever forget them

I’ve stopped running, with these legs granted from a witch
It’s the last step on this sea in which you can’t go back to

These footprints of yours will be washed away along with the waves right?
Our hearts has been immersed with the water in the sea this one time
So cold, it pierces into open wounds
With these legs, Last step
Although this can’t prove anything anymore at this time

Romaji:

Tōi umi de mitsuke ta nani no shōko ni mo nara nai anata no ashiato
mada oyogu koto shika deki nakatta

watashi wa ningen ni natta no majo ga kure ta kono ashi de
anata ga mō kaera nai umi ni saigo no suteppu o

aru asa negai kanai anata ni au tame ashi o moratta
soredemo oitsuke nai watashi wa tsumasakidachioboe, kakato narashi te

warutsu ni mi o makase ta kanawa nu omoi to wakatte i nagara
anata o omoi, odotta wasure te shimawa nu yō ni nan do mo

watashi wa hashiru no o yame te majo ga kure ta kono ashi de
anata ga mo kaera nai umi ni saigo no suteppu o

kono ashiato mo nami ni kesareyuku no desho u
ni nin no kokoro ga ichi do wa tsukatta kono umi no mizu ga
kizuguchi ni shimiru, tsumetai.
konna ashi de Last Step
imasara nani no shōko ni nara nai kedo

Kanji:

遠い海で見つけた 何の証拠にもならない 貴方の足跡
まだ泳ぐ事しか出来なかった

私はニンゲンになったの 魔女がくれたこの足で
貴方がもう帰らない海に 最後のステップを

ある朝願い叶い 貴方に逢う為 足を貰った
それでも追いつけない私は爪先立ち覚え、踵鳴らして

ワルツに身を任せた 叶わぬ想いと解っていながら
貴方を想い、踊った 忘れてしまわぬように 何度も

私は走るのをやめて 魔女がくれたこの足で
貴方がも帰らない海に 最後のステップを

この足跡も波に消され行くのでしょう
二人の心が一度は浸かった この海の水が
傷口に染みる、冷たい。
こんな足でLast Step
今更何の証拠にならないけど


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小南泰葉 – 3355411


Kominami Yasuha – 3355411

Song & Lyrics: Kominami Yasuha
Translation: Kafka

When you equate the power of 2 of the number “3 3 5 5 4 1 1”
You’ll get “I want to live, I want to live”
Billions of people scattering around meeting each other
We are safely leading into our death

Gold is heavier than life, there is only the bully and the bullied
In a world born equal, karma burdened modern people can go where they like

Humans are the only ones who miserable die in fear, can we accept those who are not humans?
Where should we go? How far can we go on?

Comfortable hole goodbye, farewell to this hole with no troubles
Foolish people are very small, despite oblivious to anything

Wings on the back, fillet on the stomach, although desire and imitation repeats, We can’t outdistance them
Where did our lost sixth sense go? They sway from statute books and textbooks and burn them

Television, even books, let’s gather them with a rotten net
Honestly, I don’t even understand politics that much, honestly, I don’t even care

Comfortable hole goodbye, farewell to this hole with no troubles
Foolish people are very small, despite oblivious to anything

We are greatness. According to the great humans. Luxury in Pyramids.
They should fall down head first. They subjugate but the brain is a hindrance.

Comfortable hole goodbye, gently accepting them
Because of foolish humans! Because humans are fools! I don’t have to do this, I…

Comfortable hole good bye, whether it’s the truth or a lie, it’s up us
Foolish people are very small
At least let me type you a “1 1 2 2 4 1 1″(I want to live)

Kanji:

“3 3 5 5 4 1 1” この数字を2乗にして
“生きたい生きたい” になってしまえ
何十億人を弾き飛ばして出会えた 無事に僕等死に向かってる

金は命より重いんだ 虐める側と虐められる側しかない
生まれ落ちた平等な世界で 業を背に乗せて現代人どこまでも行けよ

人だけが無様に恐れ死ぬ 人以外は受け入れるだろう
どこに行けばいい どこまで行けるだろう

Comfortable hole good bye 苦労のない穴にさようなら
バカな人間なんてちっぽけだ 何も分かってないくせに

背中に翼を 腹にヒレを 願望と模倣を繰り返しても追い越せなくて
失った第六感はどこ? 六法全書も教科書も破り捨て焼き尽くして

本もテレビも 腐ったネットで纏めよう
正直政治もよくわかんないし 正直どうでもいい

Comfortable hole good bye 苦労のない穴にさようなら
バカな人間なんてちっぽけだ 何も分かってないくせに

僕等偉大だ 人間様のお通りだ ピラミッドにのさばって
頭から堕ちてしまえばいい 克服するのに脳は邪魔だ

Comfortable hole good bye 優しく受け入れること
バカな人間だから バカで人間だから 僕はこれしかなくて 僕は

Comfortable hole good bye 本当も嘘もお好きなように
バカな人間なんてちっぽけだ
せめて君に“1 1 2 2 4 1 1”と打とう

*translator’s note: according the forums, 3355411 apparently means I want to die. This isn’t exactly mathematical. Let’s see, if you input 3355411 in a japanese phone keypad, you’ll get しにたい which means I want to die, but if you calculate it’s power of 2, you’ll get 11224111122411 and again type in a japanese phone keypad, you’ll get いきたいいきたい which means I want to live, I want to live. It’s amazing how she got this. She’s really a genius.


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大原櫻子(from MUSH&Co.) – 頑張ったっていいんじゃない

Ohara Sakurako(from MUSH&Co.) – Ganbattatte Iin Ja Nai ~Ain’t it good that you did your best~

Singer: Sakurako Ohara (from MUSH&Co.)
Song & Lyrics: Kameda Seiji
Translation: Kafka

You are doing your best
That’s why there is no need to worry
That’s how much I love you

Whenever you get depressed
I’ll immediately fly over to you
I want you to call me first thing at anytime

Rather than thinking deeply
Go with your sudden impulse
And aim for a high five

You are looking at the same sky
Even though you are chasing a different goal
That’s why it might surely, surely work
You are not alone
You are looking at the same dream
Although it’s engraved into a different time
That’s why it might surely, surely come true
Ain’t it good that you did your best?
Together

When you can’t do your best
I’m watching over you
May my strongest yell reach you

Since everyone’s doing their best
It’ll be a little bit sadder
That it can’t be determined by a few numbers
That’s why life is interesting

Ain’t it good that there are many types of paces?
Aim for the medal with the color of your own
Go reach for the top!

You are looking at the same sky
Even though you are chasing a different goal
That’s why don’t say such thing as “because”
Anyway, move on

You might be seeing a different dream
You might have sidetracked out of it
In that case, better yet force it out!
Ain’t it good that you did your best?
Together

Right here right now, the things you can do
Ain’t it better that you just try do them?

Take the first step
Never give up and go on
Until the goddess of victory smiles
If it’s you, you can do it

You are looking at the same sky
Even though you are chasing a different goal
That’s why it might surely, surely work
You are not alone

You are looking at the same dream
Although it’s engraved into a different time
That’s why it might surely, surely come true
Ain’t it good that you did your best?
Together

Romaji:

Kimi wa ganbatte iru n da ne
dakara shinpai nai n da yo
boku wa sonna kimi ga daisuki da yo

kimi ga ochikon de iru nara
sugu ni ton de iku kara ne
donna toki mo ichiban ni yobidashi te hoshii

atama no naka de kangae te iru yori
haitacchi mezashi te
soku kōdō shichao u yo

onaji sora mi te iru yo
chigau gōru oikake te mo
dakara motto motto ikeru kamo!
hitori ja nai n da
onaji yumemi te iyo u
chigau toki o kizan de mo
dakara kitto kitto kanau kamo!
ganbattatte ii n ja nai
issho ni

kimi ga ganbare nai toki
boku wa mimamotte iru yo
saikyō no ēru ga kimi ni todoku to ii na

minna ganbatteru kara
chotto setsunaku naru yo ne
sūji de kimerare nai
dakara jinsei tte omoshiroi

ironna pēsu ga atte mo ii n ja nai?
jibun shoku no medaru mezashi te
takamatte iko u yo

onaji sora mi te iru yo
chigau gōru oikake te mo
dakara ‘datte’ nante iwa nai de
toriaezu iko u yo

chigau yume miteru kamo
yorimichi datte shiteru kamo
dattara isso motto hamidaso u!
ganbattatte ii n ja nai
issho ni

ima koko de dekiru koto
yatte mire ba ii n ja nai

hajime no ippo o fumidashichao u yo
shōri no megami hohoemu made
akirame zu iko u yo
kimi nara ba ikeru yo

onaji sora mi te iru yo
chigau gōru oikake te mo
dakara motto motto ikeru kamo!
ichi nin ja nai n da

onaji yumemi te iyo u
chigau toki o kizan de mo
dakara kitto kitto kanau kamo!
ganbattatte ii n ja nai
issho ni

Kanji:

君は頑張っているんだね
だから心配ないんだよ
僕はそんな君が大好きだよ

君が落ち込んでいるなら
すぐに飛んでいくからね
どんな時も一番に呼び出してほしい

頭の中で考えているより
ハイタッチめざして
即行動しちゃおうよ

同じ空見ているよ
違うゴール追いかけても
だからもっともっといけるかも!
一人じゃないんだ
同じ夢見ていよう
違う時をきざんでも
だからきっときっとかなうかも!
頑張ったっていいんじゃない
一緒に

君が頑張れないとき
僕は見守っているよ
最強のエールが君にとどくといいな

みんな頑張ってるから
ちょっとせつなくなるよね
数字で決められない
だから人生っておもしろい

いろんなペースがあってもいいんじゃない?
自分色のメダル目指して
高まっていこうよ

同じ空見ているよ
違うゴール追いかけても
だから「だって」なんて言わないで
とりあえずいこうよ

違う夢見てるかも
寄り道だってしてるかも
だったらいっそもっとはみだそう!
頑張ったっていいんじゃない
一緒に

今ここで 出来る事
やってみれば いいんじゃない

はじめの一歩を踏み出しちゃおうよ
勝利の女神微笑むまで
あきらめずいこうよ
君ならばいけるよ

同じ空見ているよ
違うゴール追いかけても
だからもっともっといけるかも!
一人じゃないんだ

同じ夢見ていよう
違う時をきざんでも
だからきっときっとかなうかも!
頑張ったっていいんじゃない
一緒に