Rilkean Heart

Hitherto

The lips the heart / The heart the soul / illuminated


❀ Terminology | Timeline

from melonella

問題：在沒有儲存空間時嘗試上傳圖書，變相寫入了空白json文件導致以下報錯

SyntaxError: Unexpected end of JSON input
    at JSON.parse (<anonymous>)
    at /root/little-library/routes/get_home.js:23:29
    at Array.map (<anonymous>)
    at /root/little-library/routes/get_home.js:22:23
    at Layer.handle [as handle_request] (/root/little-library/node_modules/express/lib/router/layer.js:95:5)
    at next (/root/little-library/node_modules/express/lib/router/route.js:137:13)
    at Route.dispatch (/root/little-library/node_modules/express/lib/router/route.js:112:3)
    at Layer.handle [as handle_request] (/root/little-library/node_modules/express/lib/router/layer.js:95:5)
    at /root/little-library/node_modules/express/lib/router/index.js:281:22
    at Function.process_params (/root/little-library/node_modules/express/lib/router/index.js:335:12)

1. 釋出空間

登入服務器查看儲存空間

df -h
/dev/vda1       9.4G  9.4G     0 100% /

找出佔空間的log並將其移除

sudo du -h /var/log

1.1G	/var/log/journal
1.3G	/var/log
root@vultr:~# rm -r /var/log/journal
root@vultr:~# rm -r /var/log

Usage of /: 72.4% of 9.32GB

2. 刪除空白json文件

文件路徑在 /little-library/public/files

xxx.epub xxx.json xxx.json xxx.pdf

逐一查看哪個空白，然後 rm xxx.json

回到 /little-library 重啟應用

npm start

> little-library@0.1.0 start
> node server.js

Started server on port 3000
Started SSL server on port 443

檢查沒有報錯後按Ctrl+C退出，然後執行命令 forever start

 
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from melonella

renew cert成功但網站依然顯示過期，聽網上的人講刪了/etc/letsencrypt再申請於是（………似乎是bad advice

報錯1：cannot load fullchain.pem

nginx: [emerg] cannot load certificate "/etc/letsencrypt/live/網站域名/fullchain.pem": BIO_new_file() failed (SSL: error:02001002:system library:fopen:No such file or directory:fopen('/etc/letsencrypt/live/網站域名/fullchain.pem','r') error:2006D080:BIO routines:BIO_new_file:no such file)

解決方法：用certbot certonly重新申請

How would you like to authenticate with the ACME CA?
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -  - - - - - 
1: Nginx Web Server plugin (nginx) [Misconfigured] 
2: Spin up a temporary webserver (standalone) 
3: Place files in webroot directory (webroot)

報錯2：ssl-dhparams.pem failed

nginx: [emerg] BIO_new_file("/etc/letsencrypt/ssl-dhparams.pem") failed (SSL: error:02001002:system library:fopen:No such file or directory:fopen('/etc/letsencrypt/ssl-dhparams.pem','r') error:2006D080:BIO routines:BIO_new_file:no such file)

解決方法：需要生成一個dhparams 4096-bit key

cd /etc/ssl/certs  
openssl dhparam -out dhparam.pem 4096

來自：https://scaron.info/blog/improve-your-nginx-ssl-configuration.html

（'This is going to take a long time'是真的有點久）

完成以後把它複制回去對應的目錄下面+重新命名

cp /etc/ssl/certs/dhparam.pem /etc/letsencrypt/
cd /etc/letsencrypt/
mv dhparam.pem ssl-dhparams.pem

報錯3

nginx: [emerg] bind() to 0.0.0.0:443 failed (98: Address already in use)

解決方法：remove the symbolic link

sudo rm /etc/nginx/sites-enabled/default

來自：https://stackoverflow.com/questions/14972792/nginx-nginx-emerg-bind-to-80-failed-98-address-already-in-use#comment44562336_15051854

 
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from melonella

有圖ver點這裡

Goal

初始時你可以為自己訂立一個今年讀多少本書的Goal，像嘟文一樣可以選擇公開範圍（公開、Unlisted、Followers、私人）

例：myth set a goal to read 12 books in 2021

搜索書籍的時候，如果你所在的站點其他人沒有import過這本書，你需要按下Load results從官方站點加載搜索結果，再import到本地，才能打開書本頁面（或者也可以從左下角手動添加條目）

No results found for xxx >Load results from other catalogues

Reading Activity (Feed)

打開了書本頁面以後，每一本書都可以標注以下其中一個狀態：

  • Want to read
  • Start reading
  • Finish reading

按下去的時候會生成一個post，像其他fedi軟件一樣可以從四種可見範圍中選擇，同時書本也會出現在個人主頁對應的書架上（全部、待讀、在讀、已讀）

例：myth started reading History of Beauty

另外你可以為書籍添加：

  • Review（五星評分制+評論）
  • Comment（評論）
  • Quote（摘錄+評論）

同樣會生成一個post，例：myth quoted Fahrenheit 451 by Ray Bradbury

Lists

在可見範圍的基礎上，你還可以選擇書單要不要允許別人添加項目

  • Open：所有人都可以加
  • Curated：別人可以提議，你同意後加上
  • Closed：不可以加

比如以下就是一個Unlisted的Curated list https://bookwyrm.dachary.org/list/1

 
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from melonella

參考了Kana給Pleroma FE寫的教程

試過跟著教程創建custom.css但似乎沒有起效，於是直接丟進index.html裡（可能不是最好的做法）

nano /opt/soapbox/static/index.html

找到 </head> ，在前面加入 <style></style>，然後在兩個style的中間輸入（象的魔改）設置 PS. 建議加入前先用Stylebot改動+預覽是否自己想要的效果

PPS. 不知道comment留著有沒有影響，我自己有刪掉

/*emoji enlarge*/

.reply-indicator__content .emojione, 
.status__content .emojione {
  width: 40px !important;
	height: 40px !important;
}

.emoji-mart-category .emoji-mart-emoji span {
	width: 30px !important;
	height: 30px !important;
}

/*长图补丁 v2.1 by Shioko*/

.image-loader {
	align-items:center;
}
.zoomable-image {
	display: flex;
    height:auto;
	max-height: 100%;
    width: auto;
    max-width: 95%;
	overflow: auto !important;
	align-items:center;
}
.zoomable-image:hover {
	align-items: flex-start;
}

.zoomable-image img {
	max-height: 100%;
    max-width:95%;
}
.zoomable-image img:hover {
	max-height: 2000%;
    max-width:95%;
}

/*change background*/

body {
  background-image: url('圖片地址或路徑');
  background-repeat: no-repeat;
  background-attachment: fixed;
  background-size: cover;
}

存檔：藍站url

 
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from Interview

小林太郎のインタビュー

Orkonpood

1. 小林太郎、アルバム「Orkonpood」引っさげナタリー初登場 2010/04/15
2. 直感と遊び心が交差する、小林太郎の1stアルバム『Orkonpood』が登場！ 2010/04/16
3. 音楽を取ったら、悪い意味でダメな人です  2010/04/20
4. bounce 320号 | 小林太郎 『Orkonpood』2010/04/25

DANCING SHIVA

1. いろんな曲があるけど、どれもテンション高い 2010/10/20

MILESTONE

1. 自分に与えられたものを素直に出すことが一番大事 2012/06/20
2. 自分の中で決着をつけエネルギーに満ちた前進を表現できた 2012/07/09
3. bounce | 小林太郎 『MILESTONE』2012/07/11
* INTERVIEW（2）——自分の才能をストレートに音楽へと還元する
* INTERVIEW（3）——自身の音楽のエネルギーが細部までくっきり見えるように
* INTERVIEW（4）——聴き手の生活に土足で踏み込んでいく音楽
* LONG REVIEW――小林太郎 『MILESTONE』
4. 小林太郎、過去の混沌を吹き飛ばした会心作、メジャー1st EP『MILESTONE』。2012/07/13

tremolo

1. 一歩一歩確かめながら成長し続ける2013年のロックの形 2013/01/01
2. Skream! インタビュー 2013年1月号掲載
3. 小林太郎「tremolo」インタビュー 2013/01/15
4. 小林太郎、2年前からやりたかったことが2年越しでようやくできたアルバムが完成 2013/01/15
5. bounce | 小林太郎 『tremolo』2013/01/16
6. 小林太郎 スペシャル・インタビュー2013/02/21
7. 高らかに鳴らせ！　鋼の歌声と美しき轟音 2013/03/01
8. 生々しいぐらいに 自分自身と向き合った2013/07/20
9. 小林太郎インタビュー！ 2013/12/12

MARQUEE Vol.95 2013年02月
★小林太郎　
巻末5P特集：撮り下ろし＋1stメジャーアルバム「tremolo」ロングインタビュー
対談：小林太郎×伊藤文暁（another sunnyday）

鼓動

1. 自分自身の言葉と向き合い、それが自然に音楽として還元されていった初シングル「鼓動」 2013/07/16
2. ナタリー /「鼓動」インタビュー 2013/07/17

DOWNBEAT

1. ナタリー /「DOWNBEAT」インタビュー 2015/01/14
2. 小林太郎が探る、新たなサウンドと表現方法　「挑戦したかったし、振り切ってみたかった」2015/02/18
3. 「体が自然に乗ってくるような完璧なリズムを構築したかった」ロックな冒険者、小林太郎が新EP『DOWNBEAT』で見せた大胆な変化 2015/02/18 
4. 自分らしさをNGに自らに放ったカウンターミュージック 2015/04/30

URBANO

1. 小林太郎　interview 2015/10/31
2. 小林太郎『URBANO』インタビュー 2015/11/06
3. Skream! インタビュー 2015年12月号掲載
4. 『URBANO』を作ったことで、小林太郎の形が本当に決まった 2016/03/10

合法

1. Skream! インタビュー 2022年2月号掲載
"聴いている人の強い味方になれればとより思えた"――今必要な、アグレッシヴで合法的爽快さを持ったロック・アルバム『合法』をリリース

Remarks

https://skream.jp/news/2022/02/kobayashi_taro_interview.php

https://members.barks.jp/artists/barks/1000002665?from=barks

- natalie.mu https://natalie.mu/music/pp/list/artist_id/8479

小林太郎の特集・インタビューPR 小林太郎「DOWNBEAT」インタビュー

2015年2月18日 音楽 小林太郎「IGNITE」インタビュー

2014年2月10日 音楽 小林太郎「太陽」インタビュー

2013年11月6日 音楽 小林太郎「鼓動」インタビュー

2013年7月17日 音楽 小林太郎「tremolo」インタビュー

2013年1月15日 音楽 小林太郎「MILESTONE」インタビュー

2012年7月11日 音楽 小林太郎

- 自分らしさをNGに自らに放った カウンターミュージック！ ダンスビートを大胆に導入した 実験作『DOWNBEAT』の先にある 覚悟と確信を鳴らすインタビュー

高らかに鳴らせ鋼の声と美しき轟音 強烈な才能を更新し続ける ロックシーンの超新星・小林太郎の メジャー1stアルバムにして 最高傑作『tremolo』インタビュー

「『URBANO』を作ったことで、小林太郎の形が本当に決まった」 “新しいことを一切やらない新しさ”が生んだ第一期の結晶を手に 変化を呑み込む巨大な才能を鳴らすリリースツアーが遂に開幕！ 小林太郎インタビュー＆動画コメント

http://kansai.pia.co.jp/interview/music/2016-03/kobayashitaro-urbano.html

Orkonpood

インタビュー：直感と遊び心が交差する、小林太郎の1stアルバム『Orkonpood』が登場！

「そう。ウサギは“いなきゃいけない”存在だから、捕まえに行く。そのためにはどうすればいいんだろうって考えるんです」

─ By the way, what is the meaning of the album name “Orkonpood”?

When we were recording, the director misheard the guitar term “open chord” as “orkonpood. I thought to myself, “That's not the way to mishear a guitar term! I thought, “That's not a mishearing!” But when I alphabetized it, it sounded cool, so I adopted it (laughs).

https://www.cdjournal.com/main/cdjpush/kobayashi-taro/1000000426

2010/04/16 | 取材・文／廿楽玲子

【小林太郎】音楽を取ったら、悪い意味でダメな人です

“俺って孤独だねぇ”って思うこともあるだろうけど、自分だけ特別なわけではなく、友達もいないわけでもなく、普通なんですよ。ただ、ひとりで作業するような趣味が多いっていうだけで。また、音楽は自分の世界に入れる上に、お客さんと会話したりとか、一緒に演奏したりする人と会話したりするので、それがやり甲斐みたいな感じになってますね。

There are times when you think “I'm so lonely”, but it's not that I'm special, I don't have any friends, it's just normal. It's just that I have a lot of hobbies that I work on alone. Also, music allows me to be in my own world, and I get to talk to the audience and the people I play with, so it makes it worthwhile.

I see. Your lyrics make me feel lonely, but I don't feel like you're selling loneliness, so it's good that it's real.

https://okmusic.jp/news/181128

2010年04月20日 | 取材：高橋美穂

小林太郎 『Orkonpood』

他们的第一张专辑《Orkonpood》中的歌曲具有厚重的摇滚乐，具有普遍的吸引力，还有上述三个乐队的朗朗上口的旋律，可以说是平成时代出生的艺术家的准则。 重型摇滚乐的特点还体现在开场曲《Dragsta》的格调和金属，《Yasuda-san》的快节奏舞曲，以及《Snake Brand》的蓝调色彩。 每首歌的个性都非常明显，”安田先生 “有一个快节奏的舞蹈节拍，而 “Snake Rand “有强烈的蓝调味道。 充分展示她丰富的旋律感的歌曲也非常漂亮，如慷慨的民谣《陈美沙子》和木吉他演奏的独白《雪舞》。 她作为一个作曲家的天赋是显而易见的，但她认为自己是个天才吗？ 她无忧无虑地笑了，说：”一点也不！” 她无忧无虑地笑了起来。

我写歌的速度很慢（笑）。 (这张专辑是我从高中开始就有的材料的汇编，它终于完成了。 写歌基本上是无意识的，我只是直接去找我觉得在歌词和声音方面'好'的东西。 特别是歌词没有信息，或者说我做音乐不是因为我想让人们听，所以我自己真的无法解释。 Dragsta “是对黑帮的影射，而 “安田先生 “和 “苏菲 “都是我根据自己的感受想出来的标题。 蛇的烙印 “是因为这个riff的形象像坠落，像堕落，而歌曲中间的粉笔画部分像蛇一样起伏不定。 从好的方面来说，这只是一场戏或一种感觉，但我相信这其中一定有其意义。 我只使用我认为符合我感觉的词语。

他说话时自发的神态和腼腆的笑容与唱歌时阴森恐怖的紧张感之间的差距，不知不觉中就会出现，而正是这种有趣的差距，更引起了人们的兴趣。 他说他 “无意识地 “或 “凭感觉 “创作歌曲，但作为一个想用纯音乐来娱乐听众的音乐家，他的态度已经坚定不移了。

他说：”我认为我最接近的是成为一名艺人—人们花钱听我的CD，来看我的演出，所以我想作为一个专业人员来招待他们。 我希望他们在听我的音乐时能感受到一些积极的东西。 不管这首歌有多令人沮丧，也不管歌词说的是什么，只要声音很酷，我就会很兴奋，所以如果你能感觉到这一点，我就很高兴。

然而，这些粗制滥造的矿石给人一种强烈的感觉，即它是一个巨大矿脉的一部分。一蹴而就的时机已经不远了。

https://tower.jp/article/interview/2010/04/30/44819

2010年04月30日 | インタヴュー・文／宮本英夫

DANCING SHIVA

  1. いろんな曲があるけど、どれもテンション高い 2010年10月20日` https://okmusic.jp/news/180987

MILESTONE

小林太郎、過去の混沌を吹き飛ばした会心作、メジャー1st EP『MILESTONE』。

小林太郎：我喜欢他们的声音。 我以前唱歌的声音很好听，但用沙哑的声音唱歌对我来说真的很有吸引力。 那时候我才知道摇滚乐的肮脏形象和爆发力，我想这些年来这一点并没有改变。 但我本来就不是那种写很多歌的人，当我开始听更多的音乐时，我发现写歌更难了，因为我必须参考很多不同的东西（笑）。 那时候我经历了一段混乱的时期。

小林太郎：是的。 可能没有多少人确切地知道他们为什么要做音乐，但我认为我来到这里时并没有这样做（笑）。 但并不是说我完全没有，只是很模糊，但我总觉得有一种大的、强的、厚的、极其热情的东西，但我无法用语言解释。 就在地震发生的时候，我感觉很不好，大家都在发信息，但在这之前我不知道自己是怎么回事。 这也是为什么我觉得我必须为我的音乐找到一个答案，但无论我怎么想，我还是想不出来。 所以我想，”这是我不明白的事情”。

小林太郎：是的，没错。 我想是查杰斯（笑）。 但是在那个时候，我认为很多人的歌曲的旋律是非常独特的。 例如，如果有人正在考虑今天晚餐吃什么，听到了音乐，他们会对那首歌感兴趣，以至于他们不会关心晚餐吃什么。 我觉得那种能量在过去的人身上非常强烈。 我可以这样说今天所有的音乐，不管是什么流派，但我认为必须有这样的厚重和强烈的东西。 我希望能成为车轮上的一个齿轮，使这种音乐在世界范围内更广泛地流动。

https://music.fanplus.co.jp/special/20120701605f18a6d

取材・文：山口哲生

tremolo

是的，我想这是真的。 音乐家发出各种信息，有时他们在不知不觉中这样做。 但是我不知道我为什么要做音乐，所以我不知道该发什么。 我对此很抱歉。 我可能没能弄清楚，但我强烈地感觉到我必须以某种方式面对它，所以我决定去寻找它。 我开始看书，好像我真的想学习。 如果你去二手商店，你可以找到这种厚厚的、内容丰富的书，价格为100或200日元。 当这些话进入你的头脑时，你的大脑就被激活了。 这就是为什么书对我来说是那么好。 我好像想吸收一些东西，所以我喜欢历史书，而不是小说，或强烈表达某人的思想的书。

実は「星わたり」はインディー時代の1st『Orkonpood』に入ってる曲よりも古い、何よりも最初にできた曲なんです。歌詞も構成も全て、最初のシンセからメロディまで全部が俺の頭のなかに鳴ってて、それを録り直しただけくらいの勢い。でも鍵盤って自分が弾けたらいいんだけど弾けないし、入れることでそれ自体が意味を持ってしまうことがあるじゃないですか。だからちょっと慎重になりたくて。まず俺はバンド上がりだからインディー2枚でバンド・サウンドを勉強して、『MILESTONE』は久し振りのソロのアルバムだったんで、小林太郎の名刺代わり的な、俺をもう1回そのまんま出すようなアルバムを作って勉強できて。やっと今回、いろんなものを素直に、デモの段階から書いてみようと思ったんですよね。『MILESTONE』も手がけてくれたアレンジャーさんと今回も一緒に仕事させてもらって、鍵盤のイメージもいろいろ相談して、素晴らしいものをいっぱい入れられたんですよ。俺の頭のなかで鳴ってたフレーズがようやく、イメージ通りにやっとできたなと思ってます。今までは“こういうことがやりたいけどまだできない”っていう感じでしたね。

例えば「INDUSTRIAL LADY」ではKurt Cobainが好き。「愛のうた」では藤原基央さんが好き。「艶花」では安全地帯が好き。「答えを消していけ」ではB'zの稲葉さんが好き。「輪舞曲」ではチバさんが好き。「目眩」ではチャゲアスが好き。「饒舌～interlude～」では洋楽が好きっていうのが出てて……全部違うんですよね。曲が自然と浮かんできたから。それ自体は俺はわからないんですよ。浮かんだから書いただけであって。もしかしたら無意識でバランスを見てるかもしれないけど……でも取り敢えず、すっと浮かんできたものを何も考えずに歌って、弾いてみようって。だからそれぞれの曲に合った歌い方をしていこうと思ったんですけど、そしたら今までのアルバムにないくらい、歌の表現を考えられたんですよね。それもすごく良かったなって。

https://skream.jp/interview/2013/01/kobayashi-taro.php

高らかに鳴らせ！　鋼の歌声と美しき轟音 強烈な才能を更新し続けるロックシーンの超新星 小林太郎のメジャー1stアルバムにして最高傑作『tremolo』 インタビュー&動画コメントが到着！

我真的很喜欢那种美丽的、J-POP的、闪光的东西，我的第一个切入点确实是这样的，所以我想在做这些的同时，仍然赋予它我自己的风格。 我真的很喜欢那种闪闪发光的东西，这也是我的出发点，所以我想在做这些的同时，仍然赋予它我自己的风格。 我需要有潜力说我写的任何东西都是小林太郎的歌，不是因为它是摇滚或因为它是民谣，而是因为我需要能够说它是小林太郎的歌。

这就对了。 我的老头子哭了（笑）。

—Pops?　老人在这里是很神奇的，他的眼睛哭得很厉害也是很神奇的（笑）。

'我想知道这老头是不是出了什么问题......？ (笑)。

(众人笑)。

—'我想知道他是不是有什么问题......'（笑）（全体大笑）。

'啊哈哈哈！' (笑）我的现场表演是我的老头子可以暴露自己的地方”。

—（笑）—我相信我的老爹看到这个采访会很高兴......

(所有人都在笑)。

我希望那个老人家能读到它（笑）。

http://kansai.pia.co.jp/interview/music/2013-03/kobayashitaro-tremolo.html

2013年3月 1日 | Text by 奥“ボウイ”昌史

【小林太郎】生々しいぐらいに 自分自身と向き合った

自然而然产生的是关于爱情的歌词，但与过去不同的是，我决定了一个故事情节。 这是一首关于男人和女人之间的爱情的歌，但男人的欲望更强烈。 在男人把女人从他身边带走的情况下。 就我个人而言，我认为歌词是关于那种爱的，但在以前的采访中，有人告诉我，”这就像你对音乐的思考方式”。 这并不是说我把音乐从她那里拿走，而是我把音乐变成我自己的，把它拉向我。 所以我想，你越是不自觉地使你的音乐变得原始，它就越容易以一种形象化的方式出现。

这是真的，我认为太郎的人性在歌词中表现出来了。 他说，”激情和梦想不是优势”，但他试图超越它们......我感受到他强烈的意愿，以自己的方式，走向他满意的地方。

这就对了。 如果你问我现在什么最重要，我已经意识到，心才是最重要的。 我认为我们能够在一定程度上通过剪掉不必要的东西，以一种粗犷的形式表达情感的一面。

https://okmusic.jp/news/180045

2013年07月20日 | 取材：石田博嗣

小林太郎インタビュー！

レコーディングの際に一番、苦労した楽曲はどの曲ですか？ どのような点に苦労さたかも教えて下さい。

小林：3曲目の「艶花」という曲です。他の曲とは違う、そして今までの曲とも少し違う歌謡曲の雰囲気を表現するのになかなか試行錯誤しました。押して駄目なら引いてみる、という感じでしょうか。

小林：この曲は４年前に作った曲をそのまま録音し直したものです。丁度僕が上京する直前に、そのときの気持ちを形にした曲です。

https://www.neowing.co.jp/interview/music/taro_kobayashi

2013年12月12日 | text by Takahashi

小林太郎 スペシャル・インタビュー

我父亲在我五六年级的时候在跳蚤市场给我买了一把内弦吉他。 那是我的第一把吉他。 当我进入初中时，我想：”如果我有一把吉他，我就可以在街上演奏！” 我想，”如果我有一把吉他，我就可以在街上弹奏！”于是我开始认真弹奏吉他。 当我在初中三年级的时候，我母亲的一个朋友给了我一把木吉他，我的吉他老师给了我第一把电吉他，一把Steinberger Hohner。 Hohner是一把无头吉他，所以起初我想，”这是一把奇怪的吉他！” 我想，”那是一把奇怪的吉他！”但我有时会因为它不同的外观而感到优越。 我在初中三年级的学校音乐节上用这把Hohner演奏了L'Arc en Ciel的《天堂之路》。 这是我的第一次现场表演。 当我进入高中时，我问了很多我认识的人，组成了一个乐队，然后我的生活开始围绕着乐队。 当时，我很欣赏Bump of Chicken的藤原先生，想组建一个像他们一样的乐队。 除了Bump，我喜欢亚洲功夫一代和Ellegarden。 2004年，当阿兹特克人的《Solfa》问世时，我开始花更多时间在音乐上，并开始制作自己的原创作品。 就是在这个时候，当你16或17岁的时候，你开始认真地听西方音乐。

实际上，我还是不知道。 但在担心了很久之后，我意识到，如果我不这么理解它，我的余生都不会理解它，直到我死。 然后变得更容易了，我能够接受我所经历的艰难困苦。 即使在我做音乐时遇到麻烦，人们也会说：”我喜欢'Aucompudo'！”这样的话。 和 “这很好，有现场感！” 当我想起他们的反应时，我就能积极地接受一切，并说：”这里面有我不了解的优点，如果你努力工作，它就会出现！” 我开始以积极的方式接受一切。 就这样，你在2012年完成了你的第一张大厂牌EP《里程碑》。 是的。 大约在那个时候，我开始能够自然地表达我内在的 “不可动摇的自我”。 从《饱和》这样的直接摇滚歌曲到《白花》这样的情感民谣，使用歌曲和吉他。 即使我不知道 “正确 “的答案是什么，我已经开始接受这种声音，因为它是 “现在独一无二的我 “的东西。

是什么激发了你的歌词？　你经常阅读吗？ 我以前根本不喜欢读书，但最近我对新书和历史书很感兴趣，特别是在地震后，我读了很多书。 当然，《Milestone》和《Tremolo》的歌词可能是受到了接触如此多书籍的影响。 但是《Au Compude》和《Dancing Shiva》的歌词也有一个不变的特点，我没有读过很多书，所以我不认为我受阅读的影响那么大？

Interview by TAKAHIRO HOSOE

鼓動

──その歌詞なんですが、「蕾」では言葉遣いも独特ですね。「私語く」（ささやく）という表記ってなかなか見かけないですし。

そうなんですよね。みんな「囁く」のほうに馴染みがあると思うんですけど、パソコンで「ささやく」って入れたら「私語く」というのも出てきたから使っちゃおうて。

──ああ、そういう感じなんですね（笑）。僕も最初に歌詞を見たときに読めなかったんですけど、曲を聴いて初めて読み方を理解して。

よく「私語は慎むように」っていう注意があるじゃないですか。いけないことっていうか、隠れてすることっていうイメージが湧いて、「私語く」のほうがいいかなと思ったんですね。

──ほかにも「強請う」（ねがう）、「識る」（しる）の表記も、日常の言葉遣いとは違っているので、耳で聴くぶんには理解できるけど、歌詞を読んだときにまた違った解釈ができて、そこが面白いなと思いました。

耳で聞いた言葉の響きは一緒でも、漢字1つで意味が変わってしまう。自分の気持ちを表現するための手段として、もっと知識を豊かにしていかなきゃいけないなと思ってます。

例如，最近SKRILLEX的音乐被批评为过于数字化，扼杀了人们制作的模拟音乐，但我认为这真的很好。 我觉得SKRILLEX的音乐是通过杀死到那时为止的音乐而活着。 我认为音乐与某些东西发生冲突是很自然的。 例如，有传统音乐，而摇滚乐是为了反抗传统音乐而诞生的，那些在音乐上被认为是高水平的流派，如爵士乐和古典音乐的人都看不起摇滚乐。 我自己认为有必要与一些东西发生冲突，这就是为什么我认为以这种方式与观众发生冲突是有意义的，尽管在现场演出时可能有一些男粉丝......，也有一些女粉丝。

肯定自己是接近真实自我的方法 如果你强迫自己去做一件事，想着 “这都是为了音乐”，那就会成为一种束缚，有时会变得越来越难。 但是，也许放松一下，只是徒劳地花时间更好。

小林太郎。 这就对了。 我认为，如果你做了什么，你所做的事情最终会反映在你身上。 因此，即使我通过玩游戏来放松，当我意识到我已经这样做了，我可能会做一首快歌，并说：”背景音乐的那个BPM相当快”（笑）。

确实如此（笑）。

(笑）我在日常生活中做的各种事情都会反弹到音乐中。 我曾经认为我必须做很多事情，因为它们都是为了音乐，但现在我意识到，我并没有有意识地为了音乐做任何事情。 如果你一直想着 “我必须这样做”，就会变得很有压力。 那么你应该做你觉得必须做的事。 然后你应该做你觉得必须做的事，并肯定做这些事是可以的。 最近我一直在想，肯定自己是接近真实自我的方法。

https://natalie.mu/music/pp/kobayashitaro04

2013.11.6 | 取材・文 / 西廣智一

【インタビュー】小林太郎、自分自身の言葉と向き合い、それが自然に音楽として還元されていった初シングル「鼓動」

小林：是这样的。 以前，因为我无法控制它，我在自己和音乐之间保持了一定的距离。 观众的情况也是如此。 这仍然是一种自然的存在方式，但这是一种什么样的自然方式？ 如果你不能做得很好，你必须写一首歌，说'我没有做得很好'。 你不能放弃自己，你不能伪造它，你不能装饰它，你不能做这样的事情。 通过成为我自己，我正在融化在作为媒介的音乐中。 你越来越接近于直接到达听众的心中。 这才是最重要的。

—你是否意识到，你现在对音乐的态度和你作为中间人做音乐时是一样的？　你不以矫揉造作的方式做音乐，而是以直截了当的方式把它放出来，这一点是否相同？

小林：是这样的（笑）。 (笑）以前，我在做音乐时非常拘谨。 但现在我意识到，即使是我花在看书上的时间，如果我专心致志，也会变成音乐，而我与人相处的时间，甚至是玩游戏的时间，都与音乐有关。 以前，我常常反其道而行之，在脑子里想，各种东西都与音乐有关，所以我必须研究它们。 但我意识到，我没有必要去做这些事情，它只是自然地反馈到音乐中。

https://www.barks.jp/news/?id=1000092335&p=1

2013.7.16 | 大橋美貴子

DOWNBEAT

小林太郎が探る、新たなサウンドと表現方法　「挑戦したかったし、振り切ってみたかった」

小林：这可能是任何事情。 它可以是班级手工，或使用空罐子的艺术。 我还喜欢画画。 令人惊讶的是，我为这种事情赢得了奖项。 我不认为自己有什么天赋，但用我喜欢的音乐做一些东西对我来说是新的。 因此，虽然我把唱歌和弹吉他放在一起，但在我心中它们是两码事。 如果我只唱歌，我想我不会弹吉他，但一旦你开始用吉他写歌，我想 “唱得好 “的价值就会消失。 当你自己写歌和表达你的歌声时，这不是为了成为一个好的歌手，而是为了成为一个好的歌手，你必须用自己的方式唱歌。 我总是想，如果我不弹吉他，我可以唱得更好（笑）。 但在一个乐队里，鼓声铿锵有力，贝斯和吉他在两边，它本身就够吵了，但我也喜欢吉他，所以我的吉他是乐队最大的部分，我听不到自己的歌声（笑）。

小林：是这样的。 在过去，大多数歌曲会以爆炸性的方式开始，但以 “给我看看 “为例，激动的情绪会逐渐建立起来。 这就是为什么我对它如此焦虑（笑）。 但是，如果我改变了心态，如果我没有得到这种逐渐进入状态的感觉，就会和以前一样。 我很害怕，因为我以前从来没有做过，但这就是为什么我想挑战自己，掌握它的技巧。 我期待着看到现场表演的结果。

https://realsound.jp/2015/02/post-2517.html

2015.02.18 | 取材・文＝吉羽さおり

「体が自然に乗ってくるような完璧なリズムを構築したかった」ロックな冒険者、小林太郎が新EP『DOWNBEAT』で見せた大胆な変化

2015.02.18 インタヴュー・文／宮本英夫

https://mikiki.tokyo.jp/articles/-/5435

自分らしさをNGに自らに放ったカウンターミュージック ダンスビートを大胆に導入した実験作『DOWNBEAT』の先にある 覚悟と確信を鳴らす東名阪ツアーがいよいよ開幕！ 小林太郎インタビュー&動画コメント

Text by 奥“ボウイ”昌史（2015年4月30日更新）

http://kansai.pia.co.jp/interview/music/2015-04/kobayashitaro-downbeat.html

2015/01/14 取材・文 / 小林千絵

https://natalie.mu/music/pp/kobayashitaro07

URBANO

Skream!

我大约在两三年前写了这首歌。 民谣本身已经存在了一段时间，但我开始以《Hanane》和《Chain》（Track.11）的形象制作带弦乐的民谣。 我同时做了这两首歌。 在声音方面，两者都有一个明亮或温暖的形象。 如果有的话，'Hanane'有一个更积极的方面，同样是春天的季节，我想象着一个充满希望的春天，有'发芽'和'开始'，事情有可能变得更好。 链 “是一首类似的民谣，柔和而蓬松，但更像是一场告别或离开。 我认为我能够用这两首歌来表达春天。

URBANO “是意大利语，但在英语中是 “urban”，意思是 “城市 “和 “精致”。 我的音乐和我的音乐性的基础是在我的家乡静冈时形成的，我在19岁左右搬到了东京，所以我接触了新的东西，作为一种经验。 这在音乐和非音乐中都是一样的。 在这种情况下，我认为零点是旧的演示。 而且因为它们是从未使用过的歌曲，所以有失偏颇，但它们更多展现的是我最初的自我。 我以各种方式体验过这些歌曲，在某种程度上我对它们进行了提炼和刷新。 我提炼出自己原有的那部分，不会改变。 我选择了 “Urbano “这个词，因为我想增加一个 “城市 “元素。

这是因为我在过去的六年里一直在做自己的音乐，体验世界上各种各样的事情。...... 当然，我认为计划、制作、瞄准和发布各种东西是很好的，但我更像是一个创造者。 我是那种喜欢制造东西的人。 所以我认为喜欢做东西的人可能不同意这种思维方式。 此外，世界上还有人说：”谁会买这样的东西？ 和 “谁会使用这样的东西？”而现在有这么多的东西，更有甚者，人们能够把它们做成生意。” 我最感动的情况是，人们对我为自己做的东西感到高兴，而不是说 “我做这个产品是为了取悦这些人”。 起初我以为这只是做我喜欢的事情的幸运之举，但我惊讶于做你喜欢的事情是多么重要。 这可能是让我坚持下去的能量来源。 如果你收集数据而没有得到结果，没有得到预算，那就完了。 因此，要么我不得不寻找工作，要么我的工资就会下降。 如果你喜欢创意，你可能一开始就不会加入一个公司，或者你可能会创办一个公司。 所以当谈到继续时，有一种 “喜欢的东西 “的感觉是非常重要的。 持久成功的秘诀不仅仅是喜欢它，而且是它与你的某些东西直接相关。 而且，即使持续时间很长，往往最短也是五年，只有在十年后才最终成形。 但10年是一个很长的时间。 即使在那个时候，感觉你喜欢的东西也是很重要的，即使只是隐约的喜欢。 如果你做的东西有那种感觉，即使你对它没有任何感觉，你做它是因为你想做它，所以它一定有一些意义，我想人们会听它。 或者，理想的力量是 “我不在乎别人不听，我只想做”。

https://skream.jp/interview/2015/11/kobayashi_taro_3.php

2015年12月 | 白崎 未穂

「『URBANO』を作ったことで、小林太郎の形が本当に決まった」 “新しいことを一切やらない新しさ”が生んだ第一期の結晶を手に 変化を呑み込む巨大な才能を鳴らすリリースツアーが遂に開幕！ 小林太郎インタビュー＆動画コメント

――6年前に別れた彼女のことを、まだちょっと好きで引き摺ってるみたいな(笑)。

「そうそう！　今でも全然好き(笑)。でも、3年前の彼女も好きみたいな(笑)」

――アハハハハ！(笑)　男は別れても結構ずっと好きやもんね～。

「だから、そういう人たちとの関係を、今ここで精算したかった(笑)」

「アハハハハ！(笑)　『URBANO』で曲に関しては自分のベーシックが出来たので満足してるんですけど、小林太郎として活動する全ての仕事だったりライブで安心感が生まれたのは、“俺の音楽がマジで一番だから何も疑うところがないわ”というよりは、ここ6年間で自分なりに何をしても変わらなかったから、もうしょうがないっていう(笑)。ただ、やり切れたなとは思います。これまで培ってきた小林太郎もきっと消えないので、これからの第二期ではもっともっと音楽で遊べたらなと思ってます！」

http://kansai.pia.co.jp/interview/music/2016-03/kobayashitaro-urbano.html

2016年3月10日 | Text by 奥“ボウイ”昌史

https://skream.jp/interview/2022/02/kobayashi_taro.php

—

藤原 岬?

小林太郎「URBANO」ニューアルバムを語る https://www.youtube.com/watch?v=n876do4fLm0

 
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from Taro

https://natalie.mu/music/pp/kobayashitaro03

Interview & text / Tomoichi Nishihiro

Taro Kobayashi is releasing a new album 'tremolo'. This album, released just six months after his mini-album 'MILESTONE' in July last year, is packed with rock numbers that are even more energetic and raw than his previous work. His voice with a strong presence, playful yet deep lyrics and ever-changing sound will overwhelm listeners more than ever.

In a previous interview, Kobayashi talked about his approach to music and the changes in his way of expression. In this interview, he reveals the solid response he has gained through his confident work 'tremolo'.

◆ I now know what I have to do to give shape to my image.

─I listened to your new album 'tremolo'. I have the impression that this time you have added more precision to the liberating and penetrating feeling of 'milestone'.

Yeah, that's for sure. I feel like there's a lot more attention to detail this time around.

─I felt that the little phrases and methods of expression have evolved into something more detailed and advanced than in the previous album. I was a little surprised that you were able to achieve such growth in such a short period of time.

We've had an arranger on board since 'Milestone', and I think the influence of that is more apparent this time around. Overall, we discussed every detail, so maybe that's why we were able to create something more precise in a shorter period of time. I also think it was a big part of understanding what I needed to do to give shape to my image, which is different from my musical sense or talent.

─What exactly does that mean?

Knowledge of recording techniques, such as how the frequency of the mix should be, and the compressor that needs to be applied here. That's been the case since we made our first album 'Orkonpood' two years ago. Since then, I've been thinking that I needed to learn more, and I did so gradually, but I think I've finally caught up with the skills needed to produce what I imagined on 'tremolo'.

◆The production of 'tremolo' may have strengthened my mind.

─Did you first become interested in recording techniques?

When I made 'Orkonpood', I didn't know anything about that kind of technical stuff. At first I thought that if I just recorded it, it would sound the way I imagined it would, but it didn't (laughs). Not a single one. I wanted to say, “This is not my song!” I wanted to say, “This is not my song! That was frustrating. After that, I started to think that I had to study a lot so that I could at least wipe my own arse. Of course, I couldn't do it straight away, and in the meantime I had to release an album. It was really hard during this period, because I couldn't do what I wanted.

─Even though you had an image in your head, you didn't have the skills or knowledge to get there.

That's right. I had no knowledge of the equipment, so even if someone asked me, “What's the difference between this comp and that comp?” I didn't know the difference between this comp and that comp” (laughs). With 'tremolo', I was finally able to formulate one of them. I think my mind may have become stronger during the making of this album. When I go to the recording studio, I'm the youngest (laughs). I'm 22 now, so I'm a fourth year university student standing alone in an environment full of adults. Can you believe it?

─Regardless of your age, you have to struggle with the staff around you on the recordings.

Just because you're the youngest doesn't mean you get any preferential treatment. It's been the same since the first album 'Orkonpood'. That's why we were determined to do our best.

◆ 'Tremolo' = a vessel for trembling musical talent

─The album title 'tremolo' is also a very impactful word. What is the meaning behind this title?

It comes from a guitar effector called a 'tremolo', which amplifies the sound and makes it vibrate in small steps. I think that I am a vessel for amplifying the music, not transforming it into something else through me, but rather giving it a shimmering effect or something like that. I think I've been doing that unconsciously. What makes me Taro Kobayashi is the humanity of the vessel, or the shape of the vessel. Things like my temperament are imparted to my music through the vessel that is me. That kind of intensity doesn't come out in everyday life, but it comes out naturally in music. In this way, I use myself as an effector called 'tremolo' and let my musical talent tremble. I think that's what Taro Kobayashi's music is all about, and that's why I chose the title 'tremolo'.

─Does the intensity you express in your music not come out in your everyday life?

It doesn't come out at all in my daily life. Even if I did, I wouldn't be allowed to express it. I would definitely get arrested (laughs).

─If you do too much, that can happen.

I don't let it out in everyday life, but in music I can let it out without feeling bad about it.

─When you express yourself in music, is it something that comes out unconsciously?

Yes, that's right. For example, playing music is pure fun, isn't it? When you play your instrument loudly, your mind and body are liberated, and when you play ......, the intensity of your temperament, which you don't usually express, comes out unconsciously. It becomes a primitive emotion, or rather, it's not like I'm happy or angry, it's like my pupils dilate with excitement. I think music is the only thing that can do that for me.

─I see.

A friend of mine has a dog and I often play with it. When I move the toy in front of him to the right, to the left and to the right again, he turns his head in the direction I move it, but at first he seems to be having fun, but then he gets carried away and I can't tell whether he's having fun or getting angry. His face is completely angry, so you think, “Oh, is he going to bite me?” And you're thinking, “Oh, he's not going to bite me. But if you keep going to the right and to the left, the dog will still repeat the same behaviour, and when you stop it, it will ask you to continue with a “Do more! When I stop the dog, it looks at me and asks me to continue (laughs). When I saw that, I thought, “Oh, he's just like me”. For me, music is something I can get into, beyond feelings of fun or sadness. I want to tell people more straightforwardly that they can have fun with feelings as primitive as a dog's.

◆ 'tremolo' is a break with the music we've done up to now

─I would like to ask you about the contents of the album. I thought the style of your last album was quite intense, and I'm completely captivated by the wildness of the first two songs on this album, 'frontier' and 'Erase the Answer'. It's like you've declared victory with just two songs.

Oh, that's important. When I was in high school, the music playing in my head was really cool, and I tried really hard to give it shape, but I couldn't quite do it. I thought that if I kept working on it, I would be able to get closer to my image, but due to various factors, I wasn't able to make it perfect. But with 'tremolo' I got closest to that image. In that sense, I'm very satisfied with it, and I think it marked a milestone.

─Did you not reach that level yet with 'milestone'?

Yes, I think so. If in the future I'm asked to continue in the same way, I can do it, and if I'm asked to do it differently, I can do different things, and I think I can do anything now. I think I've cleared the first stage. I can go to the second stage from here, so I'm very satisfied now.

─I don't know if this is the right way to put it, but have you reached the goal in the first chapter of Taro Kobayashi's musical life?

Goal......Yes, maybe. It's a goal that's close to me. In fact, this was my goal. So I don't know what the next goal is at all now.

─But you can go in any direction.

Yes, that's right. That's why I'm having the most fun at the moment.

◆ What we want to show in our music is our humanity

─I would also like to ask you about the lyrics, but I felt that you put more effort into word play this time. For example, in the song 'Iroka', the word 'Iro' is read as 'aka' or 'iro' depending on the phrase, so you get a different impression when you hear the lyrics by ear and when you read them in words. Were you conscious of this aspect this time?

Actually, I wasn't conscious of it at all. Just like with 'Milestone', I didn't think about the storyline or foreshadowing or anything like that at all, and just kept writing until my hands stopped. But maybe while I was writing I was subconsciously matching words and phrases. When I was singing the finished lyrics, I could easily sing them with my own senses, but when I read them again, they seem to have a different meaning. It's like, “You were thinking about something so stoic?” (laughs). I was particularly surprised by the song “Rinkyoku” this time, and when I was writing it I thought, “Damn! I can't get anywhere!” But when I read the finished lyrics, the lyrics were amazing (laughs). I thought that only I could write these lyrics.

─Indeed, in terms of the lyrics as well, the way you go through 'Roudou – interlude' and then fold it up with 'Nayuta' and 'Rinkyoku' gives the impression of an aggressive attitude, which is different to 'Frontier' and 'Akuha wo Hashigake Ike' at the beginning of the album.

I wanted to rewind the flow of the album with 'Rakuozai ~interlude~'. I divided the album into the first half and the second half with 'Roud – interlude' as the axis. The first half of the album is divided into two halves, with 'Nayuta' being a bit more emotional and more like the kind of Japanese rock that inspired me to start my own band. After that, it's like metal ('Rinkyoku') and grunge ('INDUSTRIAL LADY'). I really only do what I like (laughs).

─The selection of the word 'nayuta' is also very impressive ('nayuta' is a unit of extremely large quantity derived from Buddhist terminology). When I saw this title, I was reminded of what Mr Kobayashi said about reading various books after the earthquake, some of which were Buddhist scriptures.

Ahaha (laughs). Well, I think reading books enriches our humanity. What I want to express in my music is that part of humanity, so reading books is a very important element. I feel that this is expressed more strongly in this album.

◆ Subconsciously seeking the person on the other side of music

─Could you tell us a little more about the “expressing humanity through music” part?

When I finished making this 'tremolo' album, I finally realised what good music is. I felt that when I finished making this 'tremolo', I was finally able to see what good music is. I think it's music where you can see the people who are making the music, in other words ...... where people come out. To put it simply, when people say 'I want to hear that song', they don't listen to another person's cover of the song, they listen to the original.

─ Well, that's usually the case, isn't it?

I think that means that people are looking for the humanity of the person who first sang or wrote the song. It's like subconsciously seeking the person on the other side of the music. Just because you want to hear 'Love Story Suddenly', you don't think it's okay if you don't know who's singing the song. It starts with the guitar phrase “Chaka chan!” is a good thing because it starts with the phrase “Chaka-chaan!” and then you hear Kazumasa Oda's voice. He's on the other side of the song.

 
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from Taro

Interview & text / Mikiko Ohashi | 2012.7.9 13:27 https://www.barks.jp/news/?id=1000081269&ref=rss

When you mention the name Taro Kobayashi, you might say, “You're the guy who plays Flying V, right?” His first independent album Orkonpood, which unleashed him onto the music scene in 2010, captured the ears with its unique song titles such as 'Yasuda-san' and 'Misako-chan', as well as the power of his one-of-a-kind songs. Two years have passed since then. After playing in bands and other activities, Taro Kobayashi found a new ground for his music and his first major label EP 'MILESTONE' was born. What changes in his state of mind have led up to this point?

—When you released Orkonpood, I didn't feel that you were obsessed with whether you were major or independent or anything like that, but what about now?

KOBAYASHI: A lot has happened since we released Orkonpood. But through that experience, I've come to a settlement within myself, and at this point in time I feel like I've finally come to understand who Taro Kobayashi is. It was a time when I felt like I could finally get down to business and make some kind of sound, and that coincided with my major label debut. I think it's great that I was able to make the best record I've ever made in this situation, a record that broke out of my shell.

—What do you think was the biggest thing that you “understood” after your previous work?

KOBAYASHI: There is a flow that leads up to that point, so it's difficult to say “what” in one word.

—Well, can you tell us about the flow?

KOBAYASHI: In terms of musical activities, you had two albums released as a solo artist, and then you became active in a band.

—What was the reason for being in a band?

KOBAYASHI: I wasn't sure whether solo or band was the best way for me to present my music. The appearance and songs on stage are a bit different between solo and band, and the way I write songs is also different, but I wanted to be lazy and try both. So the tension was the same for me in both activities. Then last year there was the earthquake. People in my position were sending out messages in their own way, but I couldn't do anything. But I couldn't do anything.

—Why is that?

KOBAYASHI: I couldn't do anything because I didn't even understand myself. I thought, “This is a bad idea.” Even with that thought in my head, I was trying to decide whether it was better to be in a band or a solo artist, and I was desperately trying to be in a band. In the end, the band broke up because each member was capable of writing songs, so we decided to do individual activities. Then what about me?” I thought. That's where I had to think about it again. I'd spent about a year facing up to the things I'd been thinking about while being in the band, but now that I was on my own, I had to face those things head-on again.

—What do you mean by “things I've been thinking about somehow”?

KOBAYASHI: It was about why I myself started doing music. It wasn't because I had something to say or anything like that. I didn't have a message I wanted to convey, and I didn't feel like I could say something cool like other artists. When I thought about why I was doing music, it also highlighted the fact that I didn't understand myself. I really didn't understand.

—When we released Orkonpood, we were talking about that too. You said, “I don't have confidence in myself.”

KOBAYASHI: Yes. I'm not confident at all (laughs). But whether I was confident or not, the first problem was that I didn't know who I was. To some extent, I wanted to understand and be satisfied with myself. That's what I've been thinking ever since I started music.

—You wanted to go to a place where you weren't just doing music because it was fun?

KOBAYASHI: Yes. I felt like there was a reason why I was doing music, but I didn't understand it for a long time. But then one day I thought that if I didn't know this much, then the goodness that I had wasn't mine. If it was mine, I would know the details, I would know the whole picture, I would have control, and I would be able to do whatever I wanted, but it doesn't apply to everything. I feel like being in music itself is so big that you can't even see the whole picture, you can't control it, you can't do whatever you want. Then I thought that the musical talent I have is not mine.

—What do you mean by that?

KOBAYASHI: Up until now, I've had all sorts of people say all sorts of nice things about me, like that my songs are good, that my voice is good, or that I stand up well at shows. But they've only said those things about what's inside me, not about me. It's just about the goodness that I have. My goodness, my talents, and so on, were given to me by something other than myself, and I myself am just a vessel to receive them. So I thought that the reason I'm doing music is to give back what I've received to someone other than myself. Even at live shows, I don't just put myself out there, but I go straight for 'my goodness'. I don't know what 'my goodness' is because it comes from somewhere else, but if I get the hang of it, I can bring something out of it. I felt like I could give something back. That's what I have to do, and I think that's the only reason I'm doing music.

—That's a great realisation.

KOBAYASHI: That talent was only given to me because I was lucky. So I have to give back as much as I can in my own small capacity. Then I can put all my energy into it. Until then, I thought that I had to give meaning to what I created. But now I've come to think that it would be good if I could make it better by giving it meaning, but maybe that's not the case. You have to present what you receive in its original form, without doing anything to it. If you put a stick on it or cover it with a piece of cloth, you're only getting in the way of its original goodness. If something comes out of your senses, it should be continuous, and things should be made in areas you don't think about. I think that's what it means that what is given to you comes out straight away. That's why I think that as much as possible I should not do anything unnecessary, but be like a traffic controller, a mediator, a vessel. I was able to settle my mind in that way six months ago, when I started making this album, 'MILESTONE'.

—So it was really great timing.

KOBAYASHI: Yes. Various gears meshed and it felt like the first shot in the right direction. So the next thing I had to do was to showcase the talent of Taro Kobayashi as he was.

—But you can't do that with that in mind, can you?

KOBAYASHI: That's right. You can't think about making it better, and it's impossible to make it better in the first place. What comes out straight away is good, so I just had to leave the rest to my senses. I understand what I've been struggling with all this time, and now I feel really refreshed.

—I can feel that when I watch you live. But ...... means that the words depicted in “MILESTONE” are naked.

KOBAYASHI: That's right. I haven't really connected the words in the past. With this album, it was easier to express my current state when I was writing. In the past I had saved it, but this time it's just the current situation. All I'm writing about is moving forward (laughs).

—(Laughter) – I can see why the lyrics are like this, though, when I hear what you just said. Isn't it difficult to talk about how songs are made when you're doing things without thinking? (Laughs)

KOBAYASHI: Yes. I don't think about anything when I'm writing, but when it's finished, I can think about all sorts of things and it's fun.

—(Laughs) – There is such a thing as unconscious awareness. It's something we naturally have in common.

KOBAYASHI: That's right. It's easy for me to just put it out there, but I wonder how it is for the listeners. I'm putting myself out there as it is, so it would be a problem if they said, “It would have been better if there had been a stumbling block” (laughs). But I'm happy if the message is more straightforward than before.

—It's a bit of a sting, isn't it? It's like the flow of the song, but it also feels like a story. Even in the interludes, even though they're mostly instrumental, you can feel the emotion. You can hear the words even if there are no words.

KOBAYASHI: Maybe the lack of lyrics makes the sound more convincing. Up until now, I've always made songs with lyrics and a full chorus of melody, which is the royal road with vocals, but I also like this kind of instrumental style. In the sense that you have to bring out as much of what you have as possible, this song is at its best in the original demo stage. I think it's great to be able to give back a lot of things in the instrumentation other than singing. I want to broaden the scope of my work to include this kind of thing.

—Kobayashi: The inclusion of this song in the middle of the album gives it more meaning.

KOBAYASHI: It's like dividing the album into three songs. The first three songs are the ones that lead the album, and the latter three songs are the ones that store energy in the album.

—The first three songs are aggressive in their language, and they seem to be stirring you up. In the second half, the energy that comes out of being agitated becomes one with the songs.

KOBAYASHI: Yeah. We didn't really think about that kind of flow, but we felt it would be best if it happened naturally.

—KOBAYASHI: All of the songs are about moving forward, but they also depict the “inability to move forward”.

KOBAYASHI: I feel like someone made the point that the future is something you have to believe in, that you have to think positively. It's like being told, “Don't say you're tired” if you keep walking. That's because if you walk, you get tired. It's more fun to be tired but still walk and play, saying 'I have this interesting way of walking'. I don't know if you can play that much with this 'milestone', but if you think too positively, you get tired. But I don't go too far into negativity. I'm neither optimistic nor pessimistic, I just go on. Besides, I just had to make this piece. I think that part of me comes out strongly.

—Is the sixth track, “Swimming Away”, a coined word?

KOBAYASHI: Yes, it is. I'm swimming (laughs). The lyrics of this song may have come out more straightforwardly than the others. It shows my current situation really well. In life, there are both positive and negative events, but you still move on. I feel that moving on is neither good nor bad. You just have to keep going. I don't think anyone feels that they are alive all the time, but to live is to move on. Once you are born and life begins, you have no choice but to live. If you walk, you just walk, if you go forward, you go forward, you are not being chased by anything, you just go forward because you have no choice but to go forward from your current situation. I think this song shows the strength of looking at things in a flat way the most. The other songs also have that kind of image.

—This song is particularly striking in its expression that even the pain points are stimulated, isn't it? I feel as if I am in pain while listening to it, and I wonder if the third track, “Raven,” has that kind of feeling as well. Even though it is music, there is something that wells up in your body.

Kobayashi: When I'm writing a song, an image like a landscape comes to mind. For “Raven,” it's a dusk. For “Swimming Far and Away,” I imagine the sunlight climbing up from the horizon. The scenery that I see in my mind in this way is very emotional. I feel that the straightforward production made it easier to share these images with others. Until now, I had put a piece of cloth over it, so I couldn't really understand it, but I feel that my image and the listener's image have become much closer.

—It's more universal than before, isn't it?

Kobayashi: In my previous state, I could only make it difficult to understand. I guess there is a question of which is better, but before, I was more focused on making it difficult to understand. Next time, I wanted to make everything in the music, whether lyrics or melody, easy to understand, and say, “Taro Kobayashi has this kind of talent! I would like to show that Taro Kobayashi has this kind of talent, even though he is still a small performer.

 
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from Taro

原文: https://toretame.jp/i-singer-songwriter-taro-kobayashi-which-is-rumored-to-talent.html

自从2012年在大公司首次亮相以来，歌手兼作曲家小林太郎的知名度和认可度稳步上升，有时在音乐界人士中被称为 “年轻的天才”。 他的能力是有据可查的，他是一个人才的瑰宝，随时都可能跃居日本音乐界的前列。

在这一期，我们将介绍目前备受关注的艺术家 “小林太郎 “的简介和推荐曲目。

◆基本情况

1990年6月26日出生在静冈县滨松市。 他似乎从上小学开始就在父母经营的卡拉OK酒吧唱歌。从那时起，他就因出色的歌唱能力经常受到周围人的称赞。上高中时，他听了很多西方音乐，并受到外国摇滚乐队如Nirvana的强烈影响。他还通过模仿他认为很酷的海外歌手演唱风格来研究自己的演唱方法。

2008年，他出演了在朝日电视台播出的街头音乐家介绍节目《街头霸王》。 他以乐队“小林太郎吉田真田”的名义，参加了该节目仅限18岁以下艺人的比赛，并成功勝出。之后，他以个人的形式进行独立活动，并在2012年7月发行专辑《MILESTONE》正式出道。

◆小林太郎的魅力在哪？

首先，最重要的是他的歌声。 他的音域非常宽广，可以用各种声音唱歌，从高亢细腻到低沉有力的沙哑声线，让你觉得不像是同一个人。由于他还自己负责作词作曲，所以那富有表现力的唱法，抓住了每一句歌词的含义，非常有吸引力。YouTube上的官方PV下面有很多英文留言，他的歌唱能力甚至吸引了不懂日语的听众，确实非常出色！

另外，他的颜值也很出众，甜美的长相中眼神有著强烈的意志，一边弹吉他一边甩着长发的他，简直就是英俊乐手的風貌。当他在现场演出中担任主持人时，也有逗乐观众的搞笑一面。

◆推荐曲目

「サナギ」（收录于《DANCING SHIVA》） 这首歌曲是这个介绍中唯一一首来自他独立时期的歌曲，是一首平静的民谣，讲述了青少年特有的挫折和焦虑。

「鴉」（收录于《MILESTONE》） 读作 “カラス”。 这首歌以很酷的吉他独奏开場。他以长而高亢的歌声，表达了孤独和不满足的感觉。

「飽和」（收录于《MILESTONE》） 以独特的节奏进行，歌曲在副歌中到达了高潮！一首具有破坏性声音的摇滚歌曲，小林太郎最受欢迎的作品之一。

「IGNITE」（收录于《IGINITE》） 无可挑剔的旋律和歌声。这是一首震撼心灵的摇滚歌曲。它还被用作美国著名摩托车哈雷戴维森的官方 “DEMO RIDE CARAVAN “歌曲中。

「鼓動」（收录于《IGINITE》） 一首关于渴望异性的歌曲，以朴实无华的方式唱出了吸引听众的歌词。副歌非常酷，让人忍不住要反复听。

目前，小林太郎在制作新歌的同时，正在全国范围内积极举办现场演唱会。他已经获得了一群狂热的粉丝，据说每次现场表演都非常精彩。

除了这次介绍的歌曲之外，还有很多著名的歌曲，所以一定要找到你最喜欢的那首！

 
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from Taro

原文: https://arakibass.hatenablog.com/entry/2018/05/31/211927

「小林太郎。」

听到这个名字，你想象出了什么样的音乐？

你可能会想象，是每年都专程去FUJI ROCK，会在帐篷里悠闲地听歌，大概三十出头的女性会听的音乐对吗？但他可不是 $ 奇妙礼太郎^{1}$ 哦。

这个名字可能会让你联想到星野源或斋藤和义那样弹木吉他的唱作人，但完全相反。 我要写的是小林太郎，一个充满激情地唱着如今已经不流行的硬摇滚的歌手。

Riff的天賦

无论如何我希望你能听他的歌！ 关于小林太郎，我想提到的一点是他的riff。 “飽和”这首歌的riff是我听过最酷、我最喜欢的，它听起来像自己也能想到，但又刚好写不出来的，对吧？

一旦听到，我就会想我为什么没有想到它！话虽如此，它又让我觉得我肯定一辈子都想不出来这样的了，就是有这么简单，这么酷！

而且他写这首歌的时候才22岁。 以極高的完成度，頂着一头像窪塚洋介以前留的长发，他弹着Flying V的身影，洋溢着一种古怪又奇妙的性感。

当时他才20岁，也太老练了。 就算说他在和 $ 影山浩宣^{2} $ 竞争，我也会信的。

歌唱力出色

另一方面是他的歌唱能力。 純粹非常擅長唱歌。 他能把歌謡般的旋律唱得既优美又热烈。 假如尾崎豊从硬摇滚中觉醒，就会是这个样子吗？ 叫喊也很完美，甚至可以和 $ 小暮閣下^{3} $ 在美感上一较高下。

只是卖不出去。

正如我在上一篇文章中所写的，如果太酷，就会卖不出去。 如果想让硬摇滚大受欢迎，唯一的办法就是把歌词写得有趣，像打首狱门同好会或者アラウンドザ天竺那样。 它很酷哦，虽然酷得不得了，但没有哄动一时的元素。

看看他粉絲少到什么地步，我哭了。

真是一个拥有极高天赋却生不逢时的天才，小林太郎。 正想说他最近在做什么呢？

他唱了假面骑士的主题曲。 仔细一想，硬摇滚非常适合英雄系动画和特摄之类的，就像JAM Project。

他只有28岁，我只希望他能趁这时候火起来，再一次卖出去。

  1. 奇妙礼太郎、Sundayカミデ、テシマコージ组成的天才バンド于2013年成军，轻摇滚融合慵懒的音乐性，再加上主唱奇妙礼太郎的特殊声线，将日常生活、坠入爱河的喜悦、失恋的痛苦等发挥得淋漓尽致，给听众一种置身于海边般的放松感。 https://www.ettoday.net/news/20150825/554833.htm

  2. 影山浩宣：ミッシェル – 日本のロックバンド、レイジーにおける影山ヒロノブの通称。 JAM Project的团长，日本“老大哥”地位的动画歌曲王。代表作为《龙珠Z》的CHA LA HEAD CHA LA、圣斗士神话等，而CHA LA HEAD CHA LA使影山一炮走火。

  3. デーモン閣下：通称は「デーモン」、「閣下」。自身は人間の体を借りた悪魔と自称しており、生年月日は「紀元前98038年11月10日」だとしている。 日本摇滚乐团圣饥魔II的主唱兼作曲作词家，其卓越之处在于有着优秀的唱腔与恶魔气质。

 
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