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引越せない気持ち 作詞：久保田洋司 作曲・編曲：柳沢英樹
Song Credits
A familiar pairing returns... the exact same setup as 「風に任せて」 which is promising.
Title
『引越す』 means to move house. 『引越せない』 is the negative potential form of that, in other words unable to move house. I had to think for a bit about the title because it's not about moving house! It's not a million miles departed from it either. It's nothing to to with physical aspect of moving but the conceptual, moving from a place where one has settled to another where it will take time. 『気持』 is usually written as 『気持ち』 but there's no real difference between the two, just stylistic. I think without the 『ち』 it feels a bit more formal, even Imperial because it's just kanji but that's just me. I've settled on 「Rooted Feeling」 because that's how I feel the song. The idea is that she's rooted (in emotion).
Opening Thoughts
My mind is blank by this point. Probably because I'm ill now but I can't think of anything to precede the song itself. Just enjoy it! By "enjoy" I mean appreciate because it would be a bit cruel to actually "enjoy" it.
引越せない気持
Rooted Feeling
Memories 騒がないで
Memories, don't make such a noise
笑顔 嘘にしたくない
Smiles, I don't want to make it fake
二人 お別れして
Couple, split up
今は いい友達よ
Now, we're good friends
駅まで同じ道を歩いたら 手も振らず
When we walk together to the station, not holding hands
それぞれの 電車に乗り込み 帰ってゆく
We get on our own trains and go home
春風の交差点 夏の海岸通り
Spring breeze crossing, Summer sea-front
秋色の並木道 冬枯れの
分かれ道
Autumn-coloured avenue, Winter-bleak separation road
忘れはしないから お願いもう少し
I'm not going to forget so please
静かにしていてね 胸の思い出たち
Be a little quieter, memories in my heart
Destiny 悔やまないで
Destiny, don't regret it
愛を 反故にしてもいい
Love, no problem throwing it away
二人 さよならして
Couple, say our goodbyes
今は それでいいのよ
Now, doing that'd be fine!
改札口は人であふれてる あの人の
The ticket gate fills with people
背中さえ すぐに見失ってしまうでしょう
Soon I'll probably even lose sight of his back
朝明けの青い部屋 真昼の高層ビル
Blue room at dawn, Skyscraper at noon
夕まぐれの路地裏 夜空の下の二人
Back-alley at dusk, Couple under the night sky
忘れはしないから ここで見ているから
I'm not going to forget, I'm looking here so
静かにお休みよ 胸の思い出たち
Rest quietly! Memories in my heart
駅まで同じ道を歩いたら 手も振らず
When we walk together to the station, not holding hands
それぞれの 電車に乗り込み 帰ってゆく
We get on our own trains and go home
春風の交差点 夏の海岸通り
Spring breeze crossing, Summer sea-front
秋色の並木道 冬枯れの
分かれ道
Autumn-coloured avenue, Winter-bleak separation road
朝明けの青い部屋 真昼の高層ビル
Blue room at dawn, Skyscraper at noon
夕まぐれの路地裏 夜空の下の二人
Back-alley at dusk, Couple under the night sky
忘れはしないから お願いもう少し
I'm not going to forget so please
静かにしていてね 胸の思い出たち
Be a little quieter, memories in my heart
忘れはしないから ここで見ているから
I'm not going to forget, I'm looking here so
静かにお休みよ 胸の思い出たち
Rest quietly! Memories in my heart
Lyrics and Translation
What we're looking at is a girl who has split up with her boyfriend but they have remained friends (works for some people, not for others). However, she still has feelings for him and this song is about the very first word: memories. It's a girl trying to suppress those which cause her heart to break but she doesn't want to forget them. In essence she wants to forget the emotions that the memories stir up but as in 「今はレットイットビー」 (I'm sorry but I can't stop mentioning it!) the two are intertwined so doing to one is doing to the other.
The bridges tell the story of the friendship and how she feels. In the first, because they're still friends they can walk to the station together but they don't hold hands anymore and when they get there they head their separate ways. Obviously this is something that she's unhappy with. In the second, which is a continuation of the first, they're at the station and go through the entry gates but with Japanese rail being as busy as it is and the fact that they're catching separate trains, they drift apart with a sort of passiveness. It's not impossible to move against the rush hour flow, even in Tokyo (except if you get on the train but need to get off for some reason because the station hands will not let off pushing people into the carriage long enough for you to even think about how you're going to get out!), so it's another 『風に任せる』 moment there where she just lets things be and goes with the flow.
The first half of the first chorus lists types of roads associated with the seasons that are the memories that she won't forget. Each type of road is matched with the season; the crossings in spring symbolises new encounters and the autumn avenue with the deciduous trees dropping their leaves... wilting. Make your own connections with what autumn symbolises. The summer and winter ones take the perception of those seasons and associate a scene with them. The summer promenade is the archetypal summer holiday, or at least it is on island countries in moderate climates (that'd be Britain and Japan) and cold, bleak winters that are dark and gloomy. The whole thing is obviously a metaphor for a relationship blossoming and then spectacularly going down the pan! I don't think the last part of the chorus really needs any clarification.
The second verse is a similar sort of situation as in 「灯台」 where there's a feeling that apart will be easier than together but not together. However, there's not quite the same feeling this time. She really want to leave him! Notice how I translated 『二人』 differently this time. That's to capture the context in the translation. In the verse they were a separated couple. Now they're just two people drifting apart, or at least in her mind.
The first half of the second chorus associates things seen around Japanese cities with times of the day. Dawn is obviously in the morning when people get up and they usually do that in a bedroom of sorts. Rather that than a capsule hotel. After that, it's just stuff you'd expect to see in a typical Japanese city. Skyscrapers are of course a common sight and, as I explained for 「HAPPY TO GO!」, back-alleys in Japan are where a lot of casual bars and local eateries are. Finally, a couple at night time under the sky is clearly a date, or the end of one. No metaphor this time but these are again memories that she has swirling around in her head that she can't suppress. However, this time she's confronting the issue head on by facing her memories rather than imploring them to leave her alone.
We then return to the first bridge and then to a combination of the choruses with the first halves first (the memories) then the second halves (the requests) at the end. By the end of this song she's still fighting to overcome the emotion but the positive out of it is that she is more or less coping. She'll be alright in the end because when he gets a new girlfriend she'll eventually move onto the 「灯台」 stage. That means sinking even further down and then coming back up.
That's the plan anyway...
Musical Style
The main instrument is definitely the percussion of this song. It doesn't take a genius to come to that conclusion though. It's somewhat military, almost like a send-off march for soldiers and doesn't sound like a typical drum kit, instead like a drumline. The bridge sounds a bit more like a drum kit but still sounds a slightly "off". It probably was just simulated by altering a standard drum kit to sound like a drumline but there's purpose in the sound... progression.
There's a piano playing deep chords and bass to add to the dramatic nature of the song. It also has a sound of progression to it pushing the song onwards. There's also what sounds like a hammered dulcimer or at least some sort of percussive stringed instrument. In the third bridge it does a brilliant little tremolo around Aya's voice on the final note that makes her it sound like her voice is doing it. Plus there's the obligatory guitar solo again.
That final chorus where everything cuts out to leave Aya singing against the piano sounds angelic. It's a simple effect and maybe a musical cliché but it's not quite as clichéd as some musical items. Besides, it sounds great and purposeful in this song, drawing out a sound of fragility and just because something is clichéd doesn't mean it's automatically rubbish. Just usually...
Also, just as 「風に任せて」 felt like the ending theme of a movie, this sounds like the opening theme of one! Not the same movie but it has that feel. GAM's 「Thanks!」 was used as the opening theme for 「スケバン刑事 コードネーム＝麻宮サキ」 but in all honesty it didn't feel like a theme song. Not that it really matters in that brand of cinema where theme songs often have no bearing on the plot (just like random opening and ending theme songs of variety TV programmes). 「蜃気楼ロマンス」 was used in the movie itself which was much more relevant (it was actually relevant) but I digress. 「引越せない気持」, to me at least, sounds like an opening theme.
Thoughts and Conclusion
I haven't heard a song like this that goes straight into the lyrics in a long time. In fact I can't remember when the last time was or what song! I just know it's been a while. In a way I wish I hadn't known who contributed what to each song before I listened because I'm certain I would have been able to guess this was by the same minds that created 「風に任せて」, just from the "feel" of the song. They share the "epic" feel that I talked briefly about last time. This time it was created without strings but the songs still have the same air about them.
I've recently played through the game 「Another Code: Two Memories」 (known for whatever silly reason as 「Trace Memory」 in North America) which is a game about recovering memories. The game itself was innovative in the way it used the Nintendo DS (unbelieveably brilliant at times) but the storyline was a bit of an "Oooh... Ah... Oh... That's it?" affair. Engaging, but ultimately predictable and under-developed. Nevertheless, as could be expected from a game with a title like that, it was very much based on the importance of memories and how they are needed to move on. They sort of satisfy the natural human curiosity otherwise we're stuck in a rut going over the same thing over and over again, like when you hear a song that sounds familiar but can't remember the name! The song half follows that in that the importance of memories is not downplayed but in this case they're not really beneficial. This is in a way similar to the anime 「君が望む永遠」 (水月 and 孝之 are asked by
That's the last of 久保田さん on the album which is a shame in a way because all four of his songs are wildly different but all are absolutely top notch.
Romaji (aka The Secret Cause of BSoD)
Memoriizu Sawaganaide
Egao Uso ni shitakunai
Futari Owakare shite
Ima wa Ii tomodachi yo
Eki made onaji michi wo aruitara Te mo furazu
Sorezore no densha ni norikomi Kaetteyuku
Harukaze no kousaten Natsu no kaigandoori
Akiiro no namikimichi Fuyugare no wakaremichi
Wasure wa shinai kara Onegai mou sukoshi
Shizuka ni shiteite ne Mune no omoidetachi
Desutini Kuyamanaide
Ai wo Hogo ni shite mo ii
Futari Sayonara shite
Ima wa Sore de ii no yo
Kaisatsuguchi wa hito de afureteru Ano hito no
Senaka sae Sugu ni miushinatteshimau deshou
Asaake no aoi hey Mahiru no kousoubiru
Yuumagure no rojiura Yozora no shita no futari
Wasure wa shinai kara Koko de miteiru kara
Shizuka ni oyasumi yo Mune no omoidetachi
Eki made onaji michi wo aruitara Te mo furazu
Sorezore no densha ni norikomi Kaetteyuku
Harukaze no kousaten Natsu no kaigandoori
Akiiro no namikimichi Fuyugare no wakaremichi
Asaake no aoi hey Mahiru no kousoubiru
Yuumagure no rojiura Yozora no shita no futari
Wasure wa shinai kara Onegai mou sukoshi
Shizuka ni shiteite ne Mune no omoidetachi
Wasure wa shinai kara Koko de miteiru kara
Shizuka ni oyasumi yo Mune no omoidetachi
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Song Credits
A familiar pairing returns... the exact same setup as 「風に任せて」 which is promising.
Title
『引越す』 means to move house. 『引越せない』 is the negative potential form of that, in other words unable to move house. I had to think for a bit about the title because it's not about moving house! It's not a million miles departed from it either. It's nothing to to with physical aspect of moving but the conceptual, moving from a place where one has settled to another where it will take time. 『気持』 is usually written as 『気持ち』 but there's no real difference between the two, just stylistic. I think without the 『ち』 it feels a bit more formal, even Imperial because it's just kanji but that's just me. I've settled on 「Rooted Feeling」 because that's how I feel the song. The idea is that she's rooted (in emotion).
Opening Thoughts
My mind is blank by this point. Probably because I'm ill now but I can't think of anything to precede the song itself. Just enjoy it! By "enjoy" I mean appreciate because it would be a bit cruel to actually "enjoy" it.
引越せない気持
Rooted Feeling
Memories 騒がないで
Memories, don't make such a noise
笑顔 嘘にしたくない
Smiles, I don't want to make it fake
二人 お別れして
Couple, split up
今は いい友達よ
Now, we're good friends
駅まで同じ道を歩いたら 手も振らず
When we walk together to the station, not holding hands
それぞれの 電車に乗り込み 帰ってゆく
We get on our own trains and go home
春風の交差点 夏の海岸通り
Spring breeze crossing, Summer sea-front
秋色の並木道 冬枯れの
分かれ道
Autumn-coloured avenue, Winter-bleak separation road
忘れはしないから お願いもう少し
I'm not going to forget so please
静かにしていてね 胸の思い出たち
Be a little quieter, memories in my heart
Destiny 悔やまないで
Destiny, don't regret it
愛を 反故にしてもいい
Love, no problem throwing it away
二人 さよならして
Couple, say our goodbyes
今は それでいいのよ
Now, doing that'd be fine!
改札口は人であふれてる あの人の
The ticket gate fills with people
背中さえ すぐに見失ってしまうでしょう
Soon I'll probably even lose sight of his back
朝明けの青い部屋 真昼の高層ビル
Blue room at dawn, Skyscraper at noon
夕まぐれの路地裏 夜空の下の二人
Back-alley at dusk, Couple under the night sky
忘れはしないから ここで見ているから
I'm not going to forget, I'm looking here so
静かにお休みよ 胸の思い出たち
Rest quietly! Memories in my heart
駅まで同じ道を歩いたら 手も振らず
When we walk together to the station, not holding hands
それぞれの 電車に乗り込み 帰ってゆく
We get on our own trains and go home
春風の交差点 夏の海岸通り
Spring breeze crossing, Summer sea-front
秋色の並木道 冬枯れの
分かれ道
Autumn-coloured avenue, Winter-bleak separation road
朝明けの青い部屋 真昼の高層ビル
Blue room at dawn, Skyscraper at noon
夕まぐれの路地裏 夜空の下の二人
Back-alley at dusk, Couple under the night sky
忘れはしないから お願いもう少し
I'm not going to forget so please
静かにしていてね 胸の思い出たち
Be a little quieter, memories in my heart
忘れはしないから ここで見ているから
I'm not going to forget, I'm looking here so
静かにお休みよ 胸の思い出たち
Rest quietly! Memories in my heart
Lyrics and Translation
What we're looking at is a girl who has split up with her boyfriend but they have remained friends (works for some people, not for others). However, she still has feelings for him and this song is about the very first word: memories. It's a girl trying to suppress those which cause her heart to break but she doesn't want to forget them. In essence she wants to forget the emotions that the memories stir up but as in 「今はレットイットビー」 (I'm sorry but I can't stop mentioning it!) the two are intertwined so doing to one is doing to the other.
The bridges tell the story of the friendship and how she feels. In the first, because they're still friends they can walk to the station together but they don't hold hands anymore and when they get there they head their separate ways. Obviously this is something that she's unhappy with. In the second, which is a continuation of the first, they're at the station and go through the entry gates but with Japanese rail being as busy as it is and the fact that they're catching separate trains, they drift apart with a sort of passiveness. It's not impossible to move against the rush hour flow, even in Tokyo (except if you get on the train but need to get off for some reason because the station hands will not let off pushing people into the carriage long enough for you to even think about how you're going to get out!), so it's another 『風に任せる』 moment there where she just lets things be and goes with the flow.
The first half of the first chorus lists types of roads associated with the seasons that are the memories that she won't forget. Each type of road is matched with the season; the crossings in spring symbolises new encounters and the autumn avenue with the deciduous trees dropping their leaves... wilting. Make your own connections with what autumn symbolises. The summer and winter ones take the perception of those seasons and associate a scene with them. The summer promenade is the archetypal summer holiday, or at least it is on island countries in moderate climates (that'd be Britain and Japan) and cold, bleak winters that are dark and gloomy. The whole thing is obviously a metaphor for a relationship blossoming and then spectacularly going down the pan!
I don't think the last part of the chorus really needs any clarification.The second verse is a similar sort of situation as in 「灯台」 where there's a feeling that apart will be easier than together but not together. However, there's not quite the same feeling this time. She really want to leave him! Notice how I translated 『二人』 differently this time. That's to capture the context in the translation. In the verse they were a separated couple. Now they're just two people drifting apart, or at least in her mind.
The first half of the second chorus associates things seen around Japanese cities with times of the day. Dawn is obviously in the morning when people get up and they usually do that in a bedroom of sorts. Rather that than a capsule hotel. After that, it's just stuff you'd expect to see in a typical Japanese city. Skyscrapers are of course a common sight and, as I explained for 「HAPPY TO GO!」, back-alleys in Japan are where a lot of casual bars and local eateries are. Finally, a couple at night time under the sky is clearly a date, or the end of one. No metaphor this time but these are again memories that she has swirling around in her head that she can't suppress. However, this time she's confronting the issue head on by facing her memories rather than imploring them to leave her alone.
We then return to the first bridge and then to a combination of the choruses with the first halves first (the memories) then the second halves (the requests) at the end. By the end of this song she's still fighting to overcome the emotion but the positive out of it is that she is more or less coping. She'll be alright in the end because when he gets a new girlfriend she'll eventually move onto the 「灯台」 stage. That means sinking even further down and then coming back up.
That's the plan anyway... Musical Style
The main instrument is definitely the percussion of this song. It doesn't take a genius to come to that conclusion though. It's somewhat military, almost like a send-off march for soldiers and doesn't sound like a typical drum kit, instead like a drumline. The bridge sounds a bit more like a drum kit but still sounds a slightly "off". It probably was just simulated by altering a standard drum kit to sound like a drumline but there's purpose in the sound... progression.
There's a piano playing deep chords and bass to add to the dramatic nature of the song. It also has a sound of progression to it pushing the song onwards. There's also what sounds like a hammered dulcimer or at least some sort of percussive stringed instrument. In the third bridge it does a brilliant little tremolo around Aya's voice on the final note that makes her it sound like her voice is doing it. Plus there's the obligatory guitar solo again.
That final chorus where everything cuts out to leave Aya singing against the piano sounds angelic. It's a simple effect and maybe a musical cliché but it's not quite as clichéd as some musical items. Besides, it sounds great and purposeful in this song, drawing out a sound of fragility and just because something is clichéd doesn't mean it's automatically rubbish. Just usually...
Also, just as 「風に任せて」 felt like the ending theme of a movie, this sounds like the opening theme of one! Not the same movie but it has that feel. GAM's 「Thanks!」 was used as the opening theme for 「スケバン刑事 コードネーム＝麻宮サキ」 but in all honesty it didn't feel like a theme song. Not that it really matters in that brand of cinema where theme songs often have no bearing on the plot (just like random opening and ending theme songs of variety TV programmes). 「蜃気楼ロマンス」 was used in the movie itself which was much more relevant (it was actually relevant) but I digress. 「引越せない気持」, to me at least, sounds like an opening theme.
Thoughts and Conclusion
I haven't heard a song like this that goes straight into the lyrics in a long time. In fact I can't remember when the last time was or what song! I just know it's been a while. In a way I wish I hadn't known who contributed what to each song before I listened because I'm certain I would have been able to guess this was by the same minds that created 「風に任せて」, just from the "feel" of the song. They share the "epic" feel that I talked briefly about last time. This time it was created without strings but the songs still have the same air about them.
I've recently played through the game 「Another Code: Two Memories」 (known for whatever silly reason as 「Trace Memory」 in North America) which is a game about recovering memories. The game itself was innovative in the way it used the Nintendo DS (unbelieveably brilliant at times) but the storyline was a bit of an "Oooh... Ah... Oh... That's it?" affair. Engaging, but ultimately predictable and under-developed. Nevertheless, as could be expected from a game with a title like that, it was very much based on the importance of memories and how they are needed to move on. They sort of satisfy the natural human curiosity otherwise we're stuck in a rut going over the same thing over and over again, like when you hear a song that sounds familiar but can't remember the name! The song half follows that in that the importance of memories is not downplayed but in this case they're not really beneficial. This is in a way similar to the anime 「君が望む永遠」 (水月 and 孝之 are asked by
Spoiler
) 「満月をさがして」 (満月 (another みつき!) holds on to a memory of 英知, her love who moved to America and she hopes to be reunited with him someday. In the manga version, she
Spoiler
when the 死神 タクト and めろこ arrive to tell her she only has a year left to live. No, that part isn't really much of spoiler because it happens at the very beginning.). From Hollywood there's 「Twelve Monkeys」 (the memory in that movie is brilliant but seriously messed up) and of course the superbly crafted 「Memento」 (revenge with 15 minute memory anyone?) and of course 「The Matrix」 (forget everything you thought you knew!). There are many more and this has been a terrible tangent from the song itself but the memories don't help at all. Beg all you want; the only way to overcome your emotions is to face them.That's the last of 久保田さん on the album which is a shame in a way because all four of his songs are wildly different but all are absolutely top notch.
Romaji (aka The Secret Cause of BSoD)
Memoriizu Sawaganaide
Egao Uso ni shitakunai
Futari Owakare shite
Ima wa Ii tomodachi yo
Eki made onaji michi wo aruitara Te mo furazu
Sorezore no densha ni norikomi Kaetteyuku
Harukaze no kousaten Natsu no kaigandoori
Akiiro no namikimichi Fuyugare no wakaremichi
Wasure wa shinai kara Onegai mou sukoshi
Shizuka ni shiteite ne Mune no omoidetachi
Desutini Kuyamanaide
Ai wo Hogo ni shite mo ii
Futari Sayonara shite
Ima wa Sore de ii no yo
Kaisatsuguchi wa hito de afureteru Ano hito no
Senaka sae Sugu ni miushinatteshimau deshou
Asaake no aoi hey Mahiru no kousoubiru
Yuumagure no rojiura Yozora no shita no futari
Wasure wa shinai kara Koko de miteiru kara
Shizuka ni oyasumi yo Mune no omoidetachi
Eki made onaji michi wo aruitara Te mo furazu
Sorezore no densha ni norikomi Kaetteyuku
Harukaze no kousaten Natsu no kaigandoori
Akiiro no namikimichi Fuyugare no wakaremichi
Asaake no aoi hey Mahiru no kousoubiru
Yuumagure no rojiura Yozora no shita no futari
Wasure wa shinai kara Onegai mou sukoshi
Shizuka ni shiteite ne Mune no omoidetachi
Wasure wa shinai kara Koko de miteiru kara
Shizuka ni oyasumi yo Mune no omoidetachi
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