🎵歌詞&文章機翻整理📝

「小林太郎。」

# 只是卖不出去。

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。

## ◆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。

## ◆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。

## [Interview] Taro Kobayashi—I was able to settle within myself and express energetic progress.

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 from 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.

## [Interview] Taro Kobayashi 'tremolo': The secret of 'sound as imagined' finally in hand

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.