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esabri · 4 years

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nor doppelt double Sitz seat fortsetzen continue Block block Tabelle chart Hut hat verkaufen sell Erfolg success Firma company subtrahieren subtract Veranstaltung event besondere particular viel deal schwimmen swim Begriff term Gegenteil opposite Frau wife Schuh shoe Schulter shoulder Verbreitung spread arrangieren arrange Lager camp erfinden invent Baumwolle cotton geboren born bestimmen determine Quart quart neun nine Lastwagen truck Lärm noise Ebene level Chance chance sammeln gather Geschäft shop Stretch stretch werfen throw Glanz shine Immobilien property Spalte column Molekül molecule wählen select falsch wrong grau gray Wiederholung repeat erfordern require breit broad vorbereiten prepare Salz salt Nase nose mehreren plural Zorn anger Anspruch claim Kontinent continent

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j-exclamationmark-l · 5 years

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Kiryu Youtube video synopses

From November 2018 - December 2018 These are synopses, not direct translations, despite the fact I began to forget that during the top one, which I wrote last.

【本人解説】己龍最新アルバム「転生輪廻」マル秘トーク！ Kiryu talks about their new album Tenshou Rinne!

Synopsis: The five members gather together and give their thoughts about their new album.

Tsurushi Mitsuki: This is an older song I wrote, back in 2017. I made Mahiro sing in a very low register. Mahiro: I like the distortion effect in doubling my voice. Junji: I was surprised by this song, it has a nice balance between quiet and movement. Muku Mitsuki: This is the song where I began using a seven-string guitar. Hiyorin: The balance is very difficult to achieve, but once you get it, it's incredible. Junji: Between quiet and movement... THIS SONG IS DEFINITELY MOVEMENT. Oborodzukiyo Hiyorin: This kind of sounds like the kind of song we would have written in our early days. Takemasa: I think this song is more popular with our male fans since it's kind of R-rated. Mitsuki: I wanted to make a song that was dark and disturbing. Mahiro: I like this song. Junji: Between sun and shadow, this song is shadow. Ibitsu Mitsuki: This is maybe the prettiest song on the album, and a bonus track. It's a song about pain. Hiyori: The bass solo is very significant. Takemasa: After having written some hundred songs together, we've yet to have made a song like this. I'm glad we put it out now. Junji: Between strength and gentleness, this song is gentle. Hansuu Mitsuki: This is a song Takemasa wrote for us. It has a nice balance and it's really fun to play. Hiyori: It's fast and busy. Takemasa: I wrote it mostly on my iPhone. Mahiro: The speed and rhythm of it really makes it a unique song. Junji: This isn't a normal rhythmic pattern for Takemasa. It's all... (sings the pattern). That's it. That's all it is for me. [Then Junji compares it to some manga thing I'm not familiar with]. Tenshou Rinne Mitsuki: This is the kind of song that people who like Kiryu will enjoy. It's a very Kiryu song. We don't use normal phrases for us, though. Hiyori: It's really nice to hear you singing for us, Mitsuki. Mahiro: That was my idea. I thought it would add a nice kind of unique sparkle to it. Junji: This is a fast song. Watashi ha Kairai, Sarugutsuwa no Ningyou Mitsuki: This is a rather slow song for us. Hiyori: I felt like this song was a sort of turning point for us, that this is the song that shows we're no longer kids. Like we grew beards for this song. Mitsuki: I don't understand what on earth you're talking about. Hiyorin: Don't you feel like you finally grew pubic hair? Mitsuki: What? Like in junior high school, weirdo. How old are you, do you still not have hair there? Mahiro: I really like the balance and sound of this song. Basara Mitsuki: This song is called "Basara," AKA Take-punk. Takemasa: WHAT? WHY?? Mitsuki: Every time you submitted a demo of this song, the feeling of it was very uncertain. But the underlying sound was always kind of punk. Hiyorin: Thank you for all the deep feelings held in this song! Mahiro: I like this. Junji: I hate the rhythm. It's the same thing over and over again. Nopperabou Mitsuki: This song was born out of my want to write a song that had this sort of bass rhythm. For you, Hiyorin, it's all bass slaps. Hiyorin: Oh yeah! This is the most difficult song to play on this album! The rhythm is hard, and when I was recording, you kept asking for more and more. Mitsuki: And the lyrics, I really felt like I was able to write something significant and deep... Hiyorin: It is a sufficiently Micchan song. Junji: When you sent it to me, I couldn't even begin to imagine what the chorus would be like. Takemasa: We had to do so much reamping and such, this was also the most expensive song to make. Mahiro: There were just so many levels to making it. But in the end, it was fun. Mitsuki: How about it, Hiyorin? Can you go more? Hiyorin: ..I'm going to have to say for now, I'd like to stay at this level. Gekkabijin Mitsuki: This is the most Japanese-sounding track on the album. It's like Kiryu-pop. Takemasa: I had absolutely no idea where to insert this song in the album. Mitsuki: Maybe we should have made it a bonus track? Mahiro: Sometimes I forget we have songs like this, too. Junji: It's Mitsu-punk. Basara is Take-punk and Gekkabijin is Mitsu-punk. Harushigure Hiyorin: This song really conveys the feeling of now. This is really Takemasa's song. Kairai is Mitsuki's song of growth, and Harushigure is -- Takemasa: HAIR? HAIR? HAIR? Hiyorin: Your beard. Mitsuki: This is the world's beard. Mahiro: From the start, I knew this would be a good song. Junji: Takemasa wrote the music and Mitsuki wrote the lyrics, so it kind of feels like a thing you both peed on together. (Everyone laughs). No, it's a good song. It's good. I just hate it. I only play TAN-TAN-TA OVER AND OVER. Except at the end, I play DO-DO-DO. Then tan-tan-ta. But it sounds nice and sparkly. Jou no Ka Mitsuki: This is THE single Junji: The song that charmed the world. Mitsuki: We used this song in an anime. The concept came from trying to tackle something we couldn't do before. I wanted to do that. Everyone: Thank you. Hiyorin: I didn't cry, but I felt as though I might. It's a moving song. Junji: But then, seeing your name appear on the opening credits as the writer was kind of a blow. This song... between light and dark, this song is light. Mahiro: I really like this song. Kuroyami ni Madou Esoragoto Mitsuki: This song is "Kuroyami ni Madou Esoragoto," AKA the Take-ballad. Junji: This sounds like something he wrote when he was in school. This is back when it was just us in a Take-band. Prince Take hasn't changed a bit. Mitsuki: This song is just so heavy. Takemasa: I thought about all the things I wanted to say, the messages I wanted to get across. But I wasn't the one singing it, so I knew if Mahiro couldn't feel it, this song wouldn't resonate. Mahiro: It was really difficult to sing. Every line felt like a wound. Hiyorin: Usually songs feel like a journey. You hit this place, then return. Then you hit this place and return. This song starts with an intro that I expect to come back to, but you never come back to it.

https://www.youtube.com/watch?v=S4Rv-pyuEXE

5000万円以上⁉コンビニATMに入金できる額の限界を調査 Over ￥500,000,000!? Let's see how much money a convenience store ATM can take.

Synopsis: Takemasa gathers a TON of money and tries to break the ATM by putting too much in at once. Result: Eventually, the ATM does stop accepting the money after depositing ￥305,000,000. Notable: Holding THAT MUCH money at once is genuinely terrifying. Takemasa tries to make a joke about it, but you can tell he's truly nervous to be holding that much in public.

https://www.youtube.com/watch?v=a4SRtOUadMs

【黒崎眞弥を観察する会】サイン書き Watch Kurosaki Mahiro write his signature

Synopsis: Mahiro announces he will now sign posters. He then begins silently signing posters. Result: Posters have been signed. Notable: That one time he moved a poster. It was magical.

https://www.youtube.com/watch?v=1tmRaTSFRys

己龍九条武政より、今までありがとう。 Thank you for everything up until now. -Kujou Takemasa, Kiryu

Synopsis: Takemasa talks about his past in an overly dramatic way, how he decided that as long as he's in public, he will always wear his mask. As long as he has his mask, he is Kujou Takemasa. Result: In Macau, while bungee jumping, his mask flies off, and he pretends he died the moment the mask came off his face. Notable: OVER THE TOP.

https://www.youtube.com/watch?v=xNb_NqnO9Fs

【初体験】まだ見ぬ仙台の味を求めて【雑談有り】 [First Experience] We found a new flavor of Sendai (chat included)

Synopsis: Mitsuki and Hiyorin go to Sendai and talk about the kinds of food it's famous for: gyuutan, zunda, sasakama... but NO! They will not try these foods today! Instead, they'll try the first hamburger shop that was opened in Japan. Result: The two agree the hamburgers are good. Notable: Mitsuki relays a story. "Sometimes, when I go buy food, an old lady will say, 'please enjoy this with ketchup.' Sometimes the kids will write their names on their food in ketchup, too. And young couples will write each other's names." "That's sweet," Hiyoin comments. "They even draw a heart around it... the little shitheads," Mitsuki laughs. "GROW UP, MITSUKI!" Hiyorin manages through his own laughter.

https://www.youtube.com/watch?v=6CEiLBSyab8

メントスコーラリベンジ Mentos-Cola Revenge

Synopsis: Mitsuki analyzes what went wrong in the first mentos and cola video and decides to try again. Result: A huge mess explosion. Notable: Mitsuki isn't sure about trying by himself, and wonders if someone very special will hear him call out for help, no matter where they are... he calls out, "HIYOOOORIIIIIIINNN!" and surely enough, Hiyorin sweeps in to save the day. Notable 2: It's rather humanizing to see Mitsuki and Hiyorin cleaning up their own mess.

https://www.youtube.com/watch?v=an_JFW6ck3o

【企画会議】みんなでネタ考えよう！ [Meeting Regarding Future Plans] Let's all think of ideas for videos!

Synopsis: Chamu (Codomo Dragon) and Mitsuki ask for help thinking of Youtube videos people would like to see. Mitsuki claims he's only good at thinking of food-related things. Later, Mitsuki recruits Zero Hertz's Gaga and Rio to help him try different toast toppings while Chamu films them. Result: Nori tsukudani (seaweed simmered in soy sauce) Mitsuki: Too salty, but otherwise good. Rio: It's like jelly. Gaga: Salty, but good. Ume gonomi (pickled plum) Mitsuki: Too sour. Rio: Too sour. Gaga: (feigns vomiting) Ika shiokara (salted and fermented squid) Mitsuki: SALTY!! Rio: (makes a face and groans while Mitsuki asks "is it that bad?") Gaga: Yum! Delicious! The best one we've tried so far. Salmon flakes Mitsuki: It tastes like margarine. Rio: (no comment) Gaga: It tastes like normal bread. Tarako flakes Mitsuki: Where did the tarako go? Rio: It's bread! Gaga: It's like eating sand. The ensuing laughter sounds like agreement from everyone. Minorusaki menma (fermented bamboo shoots) Mitsuki: It's good! Rio: Good! Gaga: Yum. Tastes like something sold at a ramen shop. Nametake (enoki mushroom) Mitsuki: I don't taste it. It's good, but it doesn't taste like nametake. Rio: (makes a face) Gaga: (nods) Natto (slimy fermented soybeans) Mitsuki: DELICIOUS! Rio: Yum! Gaga: It's good! Mitsuki's conclusion: Everything needs more mayonnaise.

https://www.youtube.com/watch?v=29Z1sMuQQxM

【武道館ドラマーが】ドンキーコングトロピカルフリーズをまったりプレイ Part.2 A Drummer Who Has Performed at Budoukan plays Donkey Kong Tropical Breeze part 2

Synopsis: Junji plays Donkey Kong. Result: Junji plays Donkey Kong. Notable: Nothing.

https://www.youtube.com/watch?v=cNUb1GWaEg8

おまえは誰だ "Who are you?"

Synopsis: Hiyorin tests the urban legend about going insane from asking your reflection in the mirror "Who are you?" repeatedly. Result: Nothing happens. Notable: A weird tapping around the 64th time Hiyorin asks his reflection "Who are you?" Hiyorin says that this must be the spirits coming after him.

https://www.youtube.com/watch?v=iWNJvrJO2V8

【悶絶】辛味の奥に眠る旨味は見つけ出せるのか！？ [Watch as we pass out in pain] Can we bring out a dormant, delicious new flavor from spicy foods?

Premise: Mitsuki and Hiyorin try mixing a number of spicy soups together, despite both hating spicy food, in their quest to find something new and delicious. Result: Mitsuki decides, after getting over the initial pain, that it really does taste kind of good. Hiyorin dies from agony and says he can't tell if it tastes good or not because it's too painful to eat. Notable: Mitsuki flailing in pain.

https://www.youtube.com/watch?v=1E6vfta-eF8

#kiryu #kiryu youtube #english kiryu #sakai mitsuki #kurosaki mahiro #kujou takemasa #isshiki hiyori #tokai junji #chamu #codomo dragon #zero hertz #gaga #rio

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thesinglesjukebox · 4 years

Video

youtube

ALANIS MORISSETTE - REASONS I DRINK

[6.22]

"Habits (Stay Hydrated)"...

Will Adams: Alanis Morissette doing her own version of "Habits (Stay High)": better than you'd expect! There's a bit of melodrama -- the plonking piano; the "here we are!" that reminds me of "Alone"; too much reverb -- that undercuts the seriousness of the lyrics. Like "Ironic," the crux of the song is that it betrays its own title. The reasons in question are never given, and that's the point; when drinking becomes just another thing you do every day, there's no longer any justification needed. You do it because it's what you've always done. The song scratches at that terrifying thought, but not quite enough. [6]

Brad Shoup: That pounding piano! Thought Morissette and Alex Hope were giving us a Bareilles banger. But it settles into a circuit, content to support a typically wonderful, messy Morissette text. She draws the line between wanting and needing a drink, and all around this axis she plots these little asides about being Alanis: being rich and symbolic and an entertainer. When she hollers you can tell she's listening to Top 40 with a real curiosity; when she slams into the chorus you can hear Heart. [9]

Alex Clifton: I really love how the piano line sounds like it was stolen from a Sara Bareilles track, mostly because that's not what I ever expected from Alanis. In fact, if Alanis didn't have such a distinctive voice, I might've guessed that Sara Bareilles wrote this on a (very dark) bad day. Jagged Little Pill was such a landmark album in the 90s in part because Morissette is so good at channelling naked emotion through her voice, and while this doesn't sneer like some of her older material, it's still got some bite. "Even though I've been busted/I don't know where to draw the line 'cause that groove has gotten so deep" strikes me particularly hard, if only because I have my own finely-worn ruts of maladaptive coping skills. Reckless behaviour comes easy after a while. Admitting you're destroying yourself is harder. I can't tell if the jauntiness of this song is meant as a distraction from the content of the lyrics, or if it's ironically detached. Either way, it sounds good. [7]

Vikram Joseph: Despite the familiarity of the chord progressions and rhythmic piano jabs, Alanis Morrisette's longstanding disdain for rhyme schemes and her bracing vocal high-wire act -- belting this out like a showtune -- keep "Reasons I Drink" sounding slightly off-kilter. She's still such an unusual lyricist -- a lot of her lines here are blunt to the point of being slightly uncomfortable ("nothing can give me a break from this torture like they do") but then there's a peculiar, dramatic declaration about buying a Lamborghini, and intonation that makes "sick industry" sound like "sick in the street", and a chorus that crams in "long overdue respite" for, really, no good reason. In both its strangeness and familiarity it feels a bit like a '90s anachronism, but for better or worse it's definitely her anachronism. [6]

Leah Isobel: I believe that pop music is inseparable from its context. A great pop song pinpoints its performer in that moment and then transcends it; through performance, phrasing and word choice, its images and ideas grow bigger until they become abstract symbols. It's tempting to write a song in those big, abstract platitudes, but the specificity has to come first or else it's meaningless. Here Alanis demonstrates that it's also tempting to only write the specifics, and in doing so creates a piece of musical theatre without a play to hang itself on. [5]

Ian Mathers: Another discovery on our mutual march to inevitable death; it is possible to be genuinely happy to see an artist from your earlier years still doing their thing and to discover their thing is no longer anything you yourself need to listen to, and these things don't contradict each other at all! [5]

Joshua Minsoo Kim: The lyrics are far from her most memorable works, but her voice flagellates enough to create large, theatrical swells. She justifies the staid piano chord plinks, transforming the song into a martial anthem for the adult contemporary set. [5]

Katherine St Asaph: The 2010s-now-2020s are bad -- blistering take I know -- but when did they get so bad that an alarming number of musicians are finding escapism, or at least career pivots, in the most saccharine, jaunty piano stomps that sound remarkably like Emeli Sande's "Next to Me"? To be fair, "Reasons I Drink" also sounds a great deal like Heart's "Alone" and fun. -- and if we're really being honest and damn the connotations, Amanda Palmer circa Who Killed Amanda Palmer -- but what it doesn't particularly sound like is an Alanis song. It's written like an Alanis song, obviously. The subject -- drinking being crushing and fun, the music industry being crushing and more crushing, millennial burnout as experienced first by Gen X -- aren't novel, for Alanis or anyone. But what other songwriter would crash the word "medicated" out of the scansion, or decide at the last possible minute to throw into her chorus something about getting lit, or generally grover together so many bad writing habits that the result is an unmistakable individual voice? (No, the answer to that last one isn't me.) But it's not an ideal Alanis song, not least because Alanis at her peak, when writing a song called "Reasons I Drink," would produce an itemized list of 55. [5]

Josh Langhoff: These are 21 things that I want in an Alanis song. 1) Indifference to rhyme. 2) Indifference to making syllabic stresses line up with musical accents. 3) The sense that this "indifference" is actually a formal choice. 4) The sense that these formal choices are actually, partly, trolling. 5) Along those lines, heretofore unsingable phrases like "give reprieve" and "long overdue respite." 6) Likewise, weird slang ("lily pad"???) that I'm guessing nobody else uses but maybe I'm wrong because Canada. 7) Vocal hectoring. 8) Also braying. 9) Several different vocal timbres per song. 10) But at least one of them should be obnoxious, they can't just be variations on breathiness. 11) Gigantic hooks... [Note: So far so good!] 12) ... that don't sound like anyone else's. (I'm hearing Heart's "Alone" in the chorus, and my wife spotted Emeli Sandé in the piano groove.) 13) If they do sound like someone else's, at least the possibility that such copycatting poured forth as part of the same unfiltered spew as the words. 14) Vocal treatment that doesn't obscure the word "respite" because we pay to hear that shit. 15) I mean come on -- does she have to sound like she's trying so hard for a Hot AC add? 16) Still, I love that her idea of retail therapy is buying a Lamborghini rather than a car anyone in the past 20 years has thought about. 17) Evidence that we're around the same age and level of self-awareness. 18) The sense that she's trying too hard to fuck with structural paradigms. 19) Motherfucking lists, baby! 20) A whiff of unrealized ambitions, because that's just Life. [8]

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#Alanis Morissette #pop #music #music review

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