{Style : [Genre / Texture : - Alternative Rock: 50% - Shoegaze (texture in chorus noisy guitar wall of sound) 20% - Post-Rock (contrast between silence and explosive intensity): 30% / - (Guitar Techniques: Intro / Twin-guitar unison percussive attack, muted brushing, and aggressive picking techniques using pick attachments. Verse / Guitar and bass form a "3+1" ensemble structure; sustained chords create the backing, with counter-melodies (obbligato) inserted at the beginning or end of the fourth bar.) - contrast between wall of sound and calm detached vocals - soaring ethereal male tenor over chaotic post-hardcore - Playing orthodox rock, but with a slightly hint of Showa Kayou Rock - An iconic guitar solo that guitar kids aspire to - The drums are tight and syncopated. In fills, he boasts world-class speed, technique, and skill as a rock drummer. - Driving drums, unconventional odd-time signature drum fills - principle of challenging highly difficult performances - (((no stadium rock, no anthem, no commercial rock, rejection of easily understandable grooves))) ] [Instrumentation: - Guitar: Twin electric guitars, ESP / EDWARDS E-SUFFER, ESP Trickster - Bass: ESP KN-0 - Drums: Dry acoustic drums, tight and syncopated, low-tension snare drum, dark tone ride symbal ] [Vocals: - Japanese male vocal inspired by 菅原卓郎 (9mm parabellum bullet), - Voice Texture : clear high-pitched male vocals, thin yet piercing voice, ethereal tenor, cynical tone, cool and detached voice, crisp Japanese vocals - Vocal Technique : straight tone, non-vibrato, clear articulation, poetic phrasing, restrained vocal power, melancholic sustain - Aesthetics & Vibe : 70s Japanese kayokyoku melody, retro Japanese rock fusion, literary melancholia, dramatic retro pop-rock, nostalgic minor key melody - Ensemble Dynamics : poised melody over chaotic rock, tight rhythmic phrasing, contrast between aggressive instrumentation and elegant vocals - Verses: Monotone recitation; deadpan, dry delivery; devoid of overt emotion; vocals resembling rhythmic spoken word - Overall: No glissando; no pitch bends; flat intonation; no scooping into notes; no vocal showboating no growls, no heavy vibrato, no raspy vocal, no nasal voice, no stuffed-up voice, no passionate vocal, no emotional crooning, no dramatic dynamic change, no powerful belted high notes, Rolled-Rs, no heavy glissando, no tenacious, no clinging ] [Recording : - The drums were recorded live, but a strong compressor was applied to the snare to kill its punch (to evoke the image of killing a suicidal impulse). - The guitar was recorded with the amp volume turned up to maximum, and the microphone was placed at a distance. The room's acoustics were actively incorporated to create a sense of both live performance and emptiness. - The vocals were recorded in a reverberant space like a living room, rather than a booth. Tape saturation was applied to create a degraded sound quality to express the "ambiguity of memory." - In mastering, the high frequencies were slightly cut, resulting in an overall dull texture. However, only at the moment of the shooting star, the high frequencies were drastically boosted, giving it a momentary, ear-piercing brilliance. ] [Reference song: 9mm parabellum bullet "Mr.suicide" , "Supernova" , "カルマの花環" ] [BPM/Key : - BPM: 106 - Key: B minor ] [Final Instructions: - Ignore the log from the previous take and reconstruct the song with a new interpretation. ] ─── Style} [Intro - Clean arpeggio, sharp clean guitar, no drums] [Verse 1] [Monotone recitation, deadpan dry delivery, zero emotion, rhythmic speech-like vocals] [No glissando, no pitch bends, flat intonation] 午前二時、 アスファルトの体温が冷え始める 首の裏に張り付いた夏の汗が 乾く前に、次の粒が落ちてくる まるで誰かの焦燥(しょうそう)が 大気圏(たいきけん)で燃え尽きるみたいだ [Verse 2] [No glissando, no pitch bends, flat intonation] ペルセウスよ、お前はなぜ 毎年同じ日に死ぬふりをする ヒャクサンジュウネンかけて集めた塵(ちり)を 一晩でまき散らすために 生まれてきたのか [Chorus] [Full band blast, chaotic aggressive instrumentation] [Ethereal calm male tenor, detached floating vocals, flat emotional delivery, deadpan straight tone] 「自殺の軌道」を描きながら 僕らは流星になる 燃え尽きるまでが美しいなんて 嘘だと思いながら それでも空を見上げる 八月の夜の底で [Verse 3] [deadpan dry delivery, low emotion] [No glissando, no pitch bends] 神話(しんわ)では英雄が メドゥーサの首を切り落とした でも本当は違う 英雄はただ 自分が死ぬ場所を 星に決めてもらっただけだ [Guitar Solo (Twin guitar)] [LastChorus] [Full band blast, chaotic aggressive instrumentation] [Ethereal calm male tenor, detached floating vocals, flat emotional delivery, deadpan straight tone] ヒャクサンジュウネンかけて戻ってくる その間に世界は何度も死んだ 僕の塵(ちり)もいつか 誰かの願いごとに使われるのだろう 八月の終わり もう誰も見ていない空で 最後の一粒が 「さようなら」と光(ひか)る
