[Request(?)] Sally – min~眠~


【Requested by Helly

…Yeah, yeah, “requested”.
I know you requested me this song because you read this post and you knew that it was my favourite touhou arrange ever. So… thanks, actually!
I simply pretend not to see this reality and translate it anyways, because you know I wanted to! But first, few words.
As you read before on my Top 15 Touhou Arranges (which is kind of becoming a thing among other translators, and I wish it’ll keep being something people want to write about! [2017 edit] but I made it private because I can’t stick to it anymore, at least not at 100%), this is an arrange of a theme that I can hardly remember, of a character that I can hardly remember in a game that I can hardly remember.
I was really disappointed with Ten Desires because I found it way too easy game-wise, too poor music-wise and too disappointing character-wise.
The track I liked the most from this game was Night Sakura of Dead Spirits and… it’s just the first stage theme! Come on!
Kyouko’s theme was a music piece that I’ve never enjoyed that much and never actually considered to be a worthy touhou piece of music, but this song is different.
Giving that its result is awesome and is based off a theme that I don’t like makes it even more amazing than it already is.
This song gives me different feelings, mostly nostalgia and loneliness. And yeah, it’s also true that I remember this song coming to my head on a night of fireworks alone on the beach. I can’t clearly remember if that really happened or I dreamed about it, though.
But that image is perfect, and goes perfectly with what this song makes me feel.
The rap vocals are soothing, gorgeous, perfect! As Kafka Fuura said, “眠 -min- has spoken sex, which is why it’s so good”, and I think he’s right. Hahah
Anyway, this song’s style is amazing, its solo is stunning, the instruments couldn’t be better, everything, everything, everything is perfect.
I like the lyrics too, but that may be the most noticeable “flaw” of it.
Because they’re sometimes really good but, imho, sticks way too much on Kyouko’s character and could have been better if there were no stanzas refering to things such as “yamabiko” or something like that.
That apart, a masterpiece. And something that Sally won’t ever reply, in my opinion. Well, they made other great songs too, actually. OR, zen~然~, Reikon Mythology, plaza roboscape
So yeah, they’re good sometimes, but if I have to say the title of their best song, you know what I’ll say…

Sally – min~眠~

其れを捨て 向かう一路彼方
稜線 尾根に沿う裸弦の月

yo ni munashisa ga michiru naraba
sore o sute mukau ichiro kanata
ryousen one ni sou ragen no tsuki
midori no ganka ni wa sen no kuni

If in this world emptiness fills everything,
Then why not throwing it away and face towards that far off road?
A thin crescent moon is following the mountains’ ridge
And under my green eyes, thousand of countries

難攻不落 門前のダンジョン
反響す 錯乱の伴奏
演者なきとき 帰還者の談

tabi naraba sute ga watashi no sandou
nankoufuraku monzen no danjeon
hankyousu sakuran no bansou
enja naki toki kikansha no dan

If yours is a voyage, it’ll lead straight to me,
The impregnable dungeon guarding the gates
My echo will accompaign your confusion
And when no one’s there to talk, their voice resounds

山河総共鳴 地割れに雨

sanga soukyoumei jiware ni ame
ikare ten wa jin’i no saku ni makenu
ika ni mo no shiranu to mousare you ga
kotowarinaku ba? kono saki wa toosan

Mountains and streams, resonate as the rain fills the ground’s cracks
For the angered heavens won’t be defeated by humans’ plans;
And I don’t care if you have something to say:
Do you have the right to pass? Than you won’t.

その歩 訳ありとは聞く
オアシス 忘れじのイチ道理

sono aruki wake ari to wa kiku
oashisu wasureji no ichi douri
negai no gensei kara no shougeki-ha
nokotteita aika

And when someone asked me what’s the meaning of life’s walk
The single truth lied on a oasis I forgot about
The shockwave from my desire’s source
Left just this song


toki no hazama no
hotori ni saku hana no you ni
mou anata o
miokuru dake shika nai kara

Just like a flower
Blooming on the side of the cracks of time
I can’t do anything
But watching you go
It’s painful…

その声を返そう これも縁よ

osoruna hito yo, sesshou wa sukanu
sono koe o kaesou kore mo en yo
oni no mensou nado yama ni awanu. ga
inu, tori ni arazu mononoke de aru

Don’t be afraid of me, for I don’t like killing
I’ll return to you that voice, and that too is karma
For a mountain, an evil face doesn’t suit well
But after all I’m just a creature which is not a dog nor a bird

あるいは岩 とさえ言うものもいた
バラ色 幽玄 気質の知行と経

arui wa iwa to sae iu mono mo ita
kotoba wa toge to mo naru to mita
shi wa nagai yoru ni tokeru yamabiko
bara iro yuugen katagi no chigyou to kyou

There was even someone who thought I was a stone
And so I saw how words can be one with thorns
This song’s content is like an echo melting in the long night
Rose-colored, profound, a manor of appearence and a sutra


sotto fureta yume no nakami ga
kioku de nuri tsubusare mienai

The contents of that dream I faintly touched…
Are painted by my memories, so I can’t see them…


kokoro no aza o
kakushi tooseru hazu nado naku
mou yowasa o
daiteta ude ni chikara ga,

“I should be able to hid my heart’s scar”
There’s no such thing
The strenght of the arm that held my weakness
Is no more… It…

跡がまだここにある、Love you, cry

hitori naitemo
koete yukeru hazu nado naku
itoshii te no
ato ga mada koko ni aru, love you, cry

Even if I’d cry alone,
There’s no way I could make through it
For the traces of the hand of my beloved one
Are still there, love you, cry

ずっと 待てば来るような気がして

sotto fureta yume no nakami wa
zutto mateba kuru you na ki ga shite

I have the feeling that if I keep waiting forever
For the contents of that dream I barely touched, they’ll come back…

この身小さく 儚い空
You’re too,

koi to somete yo
kono mi chiisaku hakanai sora
isoide yo
yubi no sukima kara kie
you’re too

Paint me with love,
Fleeting sky above this small body of mine!
And make haste!
For it’s fading between my fingers
You’re too


anata o
miokuru dake shika nai kara

I couldn’t do anything
But see you go away…


Title: min~眠~
Circle: サリー (Sally)
Album: サリー (Sally)
Vocals: 茶太 (Chata)
Lyrics: shuriken
Arrangement: NSY
Release Event: C80
Source: 門前の妖怪小娘 (Youkai Girl at the Gate) – Ten Desires, Kasodani Kyouko’s Theme

Silver Forest – Bad Apple II


How come this song has not been translated?
I clearly remember first listening to this song years and years ago, while looking for Bad Apple arrangements.
The fact that its title has “II” on it, is probably because this song wants to keep the feeling of the original (and way more famous) Bad Apple! by nomico.
The lyrics, in fact, share the same point of view (and depression, yay!), as well as the theme, of course.
But sadly, this is far from the other Bad Apple.
In terms of music is way simpler, but, again, this one sticks much more to the original theme than the other does.
I think it’s stupid to compare those two songs, because they’re really different between each other.
And by doing so, I’ll just end up glorifying the other and underline how inferior this one is.
So, let’s just quit this Bad Apple digression and keep on talking about this song.


Okay, I think everything I need to say about this song was only about the other Bad Apple.
Mi dispiace.
But still, this song isn’t so bad, and it’s so nostalgic to me.
I actually liked the good ol’ Silver Forest, even if they never shined over other groups I always had that few songs by them I used to listen once in a while.
So, there we go! Here are the lyrics.

Silver Forest – Bad AppleⅡ


owaranai uso no sekai de
shinjitsu wa itsumo hakanakute
torawareta kono kokoro wa
nigerarenu yami no naka e

In this world of neverending lies
The truth is always so ephemeral
This heart of mine, trapped in it
Faces towards a darkness I can’t escape

鏡の中 幻が映し出した過去
変わることない 運命を超える

kagami no naka maboroshi ga utsushidashita kako
modorenai to wakattemo
kawaru koto nai unmei o koeru

Inside the mirror there’s a past where illusions are being reflected
Even though I know I can’t go back
I’ll overcome this unchanging fate.

狂気が いま僕を包み力となり
この身はただ 欲望へと捧げられて

kyouki ga ima boku o tsutsumi chikara to nari
hitomi wa zetsubou no iro e to somaru
kono mi wa tada yokubou e to sasagerarete
hitotsu no negai o yadoshite
saegiru mono o koeteku

Madness has now become the power that’s enfolding me
As my pupils are slowly gaining the color of despair
This body of mine is simply being offered to my desires
Carrying with it a single wish:
Overcome what blocks your path

狂気をいだき 理性は死す

chi nurareta michi o aruite
kyouki o idaki risei wa shisu
ikusen no tsumi seotte
hikari o motome samayou

Walking the street painted in blood
Embracing the madness my reason dies;
Carrying thousands of sins on my back
I wander seeking for the light

もう逃げられない 運命の調べ

yami no naka demo ga itemo
karami tsuku jubaku
semari kitaru rengoku wa
mou nigerarenai unmei no shirabe

Even if I’d struggle inside this darkness,
A curse is entwined on my body;
The purgatory that draws nearer and nearer
Is a choice of a destiny I can’t escape from anymore

紅く染まる世界の中 迷い続け
境界線がどこにあるか 知らず

akaku somaru sekai no naka mayoitsudzuke
kyoukai-sen ga doko ni aru ka shirazu
dare mo tadoritsukenai kono hitori no yami
doko e mukau ka
dare ni mo wakaranai mama de

I keep on getting lost in this world paintend in red
Without knowing where its edge lies
I’ll just go over it
As no one still doesn’t know
Where this lonely darkness that no one can’t reach
Is going to

鏡の中 幻が映し出した過去
変わることない 運命を超える

kagami no naka maboroshi ga utsuhidashita kako
modorenai to wakattemo
kawaru koto nai unmei o koeru

Inside the mirror there’s a past where illusions are being reflected
Even though I know I can’t go back
I’ll overcome this unchanging fate.

狂気が いま僕を包み力となり
この身はただ 欲望へと捧げられて

kyouki ga ima boku o tsutsumi chikara to nari
hitomi wa zetsubou no iro e to somaru
kono mi wa tada yokubou e to sasagerarete
hitotsu no negai o yadoshite
saegiru mono o koeteku

Madness has now become the power that’s enfolding me
As my pupils are slowly gaining the color of despair
This body of mine is simply being offered to my desires
Carrying with it a single wish:
Overcome what blocks your path


Title: Bad AppleⅡ
Circle: Silver Forest
Album: Ancient Blue
Vocals: さゆり (Sayuri)
Lyrics: NYO
Arrangement: NYO
Release Event: Reitaisai 8
Source: Bad Apple!! – Lotus Land Story, Stage 3 Theme

Foreground Eclipse – A Retrospective: Part 3/5


Here’s the third part of Foreground Eclipse Retrospective (whose title should be something like “the untold tale of Shion‘s approach to Foreground Eclipse that would have been better to stay untold”).
There’s a link at the bottom of each retrospective post for reading the other parts, so just check it out!
Last post marked the final stage of the first Foreground Eclipse period, with Suzuori leaving the band before the 6th demo CD.
From now on, we have a new guitarist/bassist, Syim, and the one taking control over the arrange system will be our legendary drummer/scream vocalist of the band: Teto.
Hard to believe enough, Foreground Eclipse totally changed with Teto as the official arranger, and while I liked lots of the first era’s songs, I think that Foreground Eclipse showed their best with their two last CDs, in a general way.
By doing this retrospective I had the chance to listen to the whole CDs again, focusing on the musical content rather than enjoying what I was listening, and I must say it was an amazing experience.
Each And Every Word Leaves Me Here Alone was the first CD by Foreground Eclipse that I remember waiting for.
Ever since the Demo CD #6, I listened to every song by them as soon as they came out, and so this CD was my first experience to actually wait for your favourite band to publish a brand new CD.
That’s so nostalgic, and I’d say I really miss this.
There are still CDs I’m waiting for and used to wait for, but nothing was like the thrill of waiting for a new FgE’s CD to come out.
I seriously hope they’ll show us a sign in the future. And by “they”, I mean Teto. A revival, maybe? A best of? Something? We’ve heard so many times of bands shattering and then reuniting out of the blue, so… let’s not throw away our hope.
So, what is this post about?
My opinions (I’m writing this again: MY PERSONAL OPINIONS) on Foreground Eclipse’s song, with comments, stories, ratings and everything.
This is purely subjective and it’s not absolutely a critic to Foreground Eclipse.

Each And Every Word Leaves Me Here Alone

This new era of Foreground Eclipse started with the 6th demo CD which featured two songs that totally blew my mind, and that we’ll talk about on this post.
Teto’s style of music is different from Suzuori’s, and while I first thought it was different in a bad way, I can now say that Teto as an arranger is way more well suited than Suzuori.
His style mainly focuses on strong, uneven rhythms and the use of the synthetizer, which is one of the main aspects of this new era.
The recording quality from now on seems to be better too, and every musical instruments of every track is so clear it could be heard without struggling (White Wind anyone?).
Before talking about this album, let’s spend two words on another thing you may think I’ve missed on the previous posts (but I actually did on purpose): the intros.
The intro for Vermillion Halo on Wishes Hidden in the Foreground Noises is a smooth track which, in my opinion, isn’t something one could spend more than two words about.
It’s something everyone could have thought about, and I think the song doesn’t change so much with or without it.
The intro for Fall of Tears is a little bit better, but, again, I couldn’t get into that song nor into its intro, and I really don’t know why. It’s also more similar to the new intros by FgE’s second phase.
From now on, with the track #01 “You can’t explain anything without the word ‘Destruction’“, the intros are becoming something more relevant for both FgE and FgE’s fans.

02. Destruction
Personal rating: ★★★★

Right of the bat, a song that I first listened to their demo CD #7 and I used to love.
I think the build up this song does with the intro is really unique, and while its intro is pretty long, I never considered it to be long enough.
This song without the intro isn’t just the same thing.
I said on the previous post something about Faith is for Transient People, and that’s exactly why I said it.
This song completely overshadows 恋詠 from their first CD, and I always wondered why they chose to arrange a song they already arranged before.
Was it maybe because they were not satisfied by their first arrange?
I think that’s the case, because this song was a huge hit since when the demo CD 7 came out, while the other is hardly remembered even by FgE’s most avid fans.
I really think that this track is a good start for an album, and that’s mainly because of its intro, but the whole song gives glimpses of how much FgE are changing.
With an opening like this one, FgE’s fans know what they were expecting from this new CD.
…Or were they?

03. Obstruction! Color It All Out
Personal rating: ★★★★

On the previous post, I’ve said something like “when you take a song and make another one based off the previous one, is pure sh*t!” or something like that.
Well, scrap that.
Destruction came before Obstruction, so, when I first read its title, I was like “this is surely going to be like Truth,Ironies & Angels,Monsters“.
But it wasn’t like that.
Or better, some parts of this song share aspects of the other, but even though the two songs could be linked between each other, they’re both really good.
The lyrics for this song came into my life at the right moment, when I needed them, and I can clearly remember every sensation this song made me feel 3 years ago.
On top of that, the arrange is really powerful and someway peaceful at the same time, and leaves us a lots of space to listen to Teto’s new techniques.
Now that I think about it, someone who’s accostumated to old FgE’s song, can find this album to be “out-of-their-style”, but if I stop and think about Foreground Eclipse, a song from Teto’s period is more likely to pop in my mind rather than one from Suzuori’s period.
There’s no such thing as a change, I’d rather like to say there’s the “discovery”. Foreground Eclipse didn’t change their way of thinking in terms of music, they just discovered new ways to express themselves and their sound.
And that applies to almost everything, actually.
Also, this song has a “secret ending” that, I clearly remember, scared the living sh*t out of me the first time.
Wasn’t expecting that.

04. I Bet You’ll Forget That Even If You Noticed That
Personal rating: ★★★★
The few things this song lacked were corrected in another version of it that we’ll see on post #5, but I still can’t give this song less star because of that.
Thinking about it, it made no huge difference whatsoever.
Yet another touhou arrange that hardly seems like one.
I can barely hear Hourai Victim in this, but I still like this a lot.
The fast-paced vocals that conceal really nice lyrics are probably what makes this song so unique it leads the band to make another one based off this style (post #5).
I remember when the album first came out, I didn’t listen to this song that much, but on a second moment I was completely stuck with this song in my mind.
Teto’s style is showing up really fast in this album, and this 3-hits combo of 4-star songs is the proof of how much I like Each and Every Word Leaves Me Here Alone…

05. Nooneness Is For Danger
Personal rating: ☆☆☆☆
…Except for this.
Seriously. Foreground Eclipse, just give up arranging Kogasa‘s theme, it’s really not your business (post #5).
The vocals of this song are horrible, and I can’t describe them otherwise.
The instrumental part is not bad at all, but the vocals are really unbearable.
I don’t know why Merami decided to sing it this way, because on other tracks of the same CD she proved us she’s gotten a lot better singing.
Only the main verse of this song is decent, but the rest of it is simply hard to listen to because of how poorly performed its vocals are.
But maybe even if the vocals were a little bit better, the song couldn’t have reached the level of the previous ones from this album.
In my opinion, it would have been better if this song wasn’t part of this album at all.
It’s so poor. And what the hell is “nooneness“? Isn’t that the cousin of Lochness?!

06. Things What Fowls Can’t See Confuse Us
Personal rating: ★★★☆☆
This song first appeared on their sixth demo CD, and was the first song arranged by Teto.
I clearly remembered how I loved this song.
It reveals us their new techniques and their new style, as well as Merami’s improved english.
Which… is still engRish, though.
And it’s probably the reason why I can’t give this song 4 stars, for how much I love it.
Because I think it would have been better if it was in japanese, and because I find some parts of it (mainly due the english usage) to be pretty lame.
In terms of music, this is nothing like the Suzuori’s era, and is surely the song that marked the rebirth of Foreground Eclipse.
With this song I realized how FgE lacked lots of things on their previous period of activity, and with it, I understood the importance of the glorious synthetizer.

07. Noble
Personal rating: ★★★★★
Throve Keys on the previous post was an tribute for Higurashi no Naku Koro ni, Noble is an arrange from one of its character’s song, “Dear You, Thanks“.
I didn’t even know this song before listening to Noble, so I thought it was an original.
After listening to Dear You, which is really nice, I realized how much better Noble was.
This song is stunning. There are no words for describing this song.
More than three years passed since I first listened to it, but I still get chills whenever I do that again.
In this track, we get to listen to Merami’s improved vocals.
Her skills became incredible, and her voice is more beautiful than always.
That’s exactly why I can’t understand how a singer as good as her made both this masterpiece and that sort-of-failure that is Noonenessblahblah.
Anyway, back to Noble.
This is probably the track I like the most from this CD and one of my favourite tracks of all time by them.
Lots of people are skeptic when it comes to listen to japanese music.
My sister is one of them.
I made her listen to this song and she actually liked it a lot.
Everything in this song is perfect, starting from the piano to the guitar’s riffs which, for how “metal” they are, don’t ruin the calm and peaceful atmosphere of this song at all.
Lyrics? Incredible.
Instruments? Perfect.
Arrange? Couldn’t be better.
A song that everyone could listen to and enjoy, because it has everything a song needs to have.
And, in my opinion, one of the best track they ever made.
Ladies and gentlemen, the track I like the most out of this album.

08. If You Feel Like Sinking Down
Personal rating: ★★★★
Here’s the first original track from this album, as well as the happiest one.
I love this song, and in that one in particular Merami’s english is a little bit better than any other songs she ever recorded.
The rhythm of this song is very complex and keeps changing and changing and changing, as if it’s reflecting the lyrics’ content.
I found this to be ingenious.
Also, the synthetizer is the main feature of this song.
I’d say that’s one of the most Teto-styled song they ever composed.
Probably it is amongst the original tracks, there couldn’t be a better track than this one to reveal how much FgE’s sound has changed throughout the years.
The digressions this song keeps having makes builds up lots of things: now tension, now happiness, now fear, now courage, now everything else.
I think only a band such as Foreground Eclipse could have wrote a song like this one.
And it’s pretty rare to see such positive lyrics from Foreground Eclipse, so we must treasure this song!

09. Escapes
Personal rating: ★★★★★
This song came out on demo CD #6, and was the song that made my jaws drop.
This. Is. Stunning.
The second original track from the album, and the best one for sure.
Probably I like Noble a little bit more, but this is still worth 5 stars.
The song builds up a feeling of hopelessness and the screams on this songs are probably the most appropriate screams out of every FgE’s song.
I love its lyrics and their backing synthetizer / guitar tracks, and the intro/build-up is epic.
No wonder why it’s one of their most famous original songs…
With this song that closes the album, we got a clear picture of Foreground Eclipse’s new style that is going to stay the same from now on.
I think that’s the most symbolic song from this album, just like The Distant Journey To You was the most symbolic one from Wishes Hidden in the Foreground Noises.
Together with Noble. But in terms of FgE’s new style, this song is probably a better example than Noble.

About this post

This CD meant a lot to me.
Probably more than Wishes Hidden in the Foreground Noises did.
Because while the other was the one which made me discover Foreground Eclipse, this one made me appreciate them more, and…
…It remembers me of an amazing period of my life and a lot of friends I love so much.
How appropriate is for a CD that makes me feel like that to have a track such as Noble inside it!
But we have not ended yet, there are still two posts.
From this point on, Foreground Eclipse will release demo CDs over demo CDs, and songs featured in album collections that will lead the band to collaborate with Draw the Emotional on Seated with Liquor and then they’ll shatter, but not before relasing their last album, Stories That Last Through The Sleepless Nights. Again, finding this more important (and a 100% FgE album) I’d talk about this before talking about Seated with Liquor and the other songs I’ve missed.
Next post coming… I have no idea, soon, I guess.

Rating system:
☆☆☆☆ – Poor
★★☆☆☆ – Nice
★★★☆☆ – Good
★★★★☆ – Very Good
★★★★★ – Excellent

Retrospective parts:

Part 1: Wishes Hidden in the Foreground Noises
Part 2: Missing, Loving… and Suffering + Tears Will Become Melodies Tonight
Part 3: Each And Every Word Leaves Me Here Alone
Part 4: Stories That Last Through The Sleepless Nights
Part 5: Extra, Bonus tracks, Seated with Liquor

See you next post!
PS: Do you have perchance Merami’s telephone number…?

[REQUEST] Undead Corporation – Flowering Night Fever


【Requested by B016

Well, woah!
It’s not the first time I get a request as violent as this in terms of rhythm.
But I guess while I found this funny too, it’s no match for Diabolic Filth.
That translation still hunts my dreams.
As I stated so many times, I think Sakuya‘s theme might be one of the most arranged Touhou themes ever, and probably the theme character who appeared the most on this wordpress in terms of posts related to her theme.
And I really don’t know why.
About this song mh.
It makes me laugh, and I think its lyrics could be summarized with a line from the fifth stanza: “Blah Blah Blah Blah…“.
I love songs like those because they’re really fun to translate and it’s always fun to me to try to listen to them while reading their lyrics and being unable to do so.
The title is obviously a pun between Sakuya’s second theme Flowering Night and Saturday Night’s Fever, while I… actually can’t feel the original mood of the second one. Like, at all.
Also, it took me few time to trascript this song, except for the last friggin’ stanza and its impossible (and unreadable) kanjis. Fuck it.
The thing I don’t just understand is… by the lyrics, it’s obvious is based on a darker view of Embodiment of Scarlet Devil‘s plot… so why “Flowering Night”? I mean, that theme doesn’t even feature in EoSD.
I give up.

Undead Corporation – Flowering Night Fever

“さぁお待ちかねの夜が来た 吸血鬼の支配する夜が
太陽が死ぬとやって来る 淫靡な享楽の宴は終わらない
死の世界が見える 私が時を殺す 忠実な犬
時が死んだ世界へようこそ 私は其の案内人”

“saa omachikane no yoru ga kita kyuuketsuki no shihaisuru yoru ga
taiyou ga shinu to yattekuru inbina kyouraku no utage wa owaranai
shi no sekai ga mieru watashi ga toki o korosu chuujitsuna inu
toki ga shinda sekai e youkoso watashi wa sono annaibito”

“At least, the long awaited night has come, the night conquered by the vampire
The Sun will face its end but the enjoyment of this impure banquet won’t;
Gazing at the world of the dead, I am the faithful dog that kills the time:
Welcome to the world of dead timespans, I am its guide.”


“私が壊れているわけじゃない 殺されたのは私ではない
死の遊戯で遊ばれているのは 貴方 貴女 アナタ
死の世界が見えるでしょう 終わらない夜が
月の光は救えない 血の渇きを癒せない オワルマデ”

“watashi ga kowareteiru wake ja nai korosareta no wa watashi de wa nai
shi no yuugi de asobareteiru no wa anata anata anata
shi no sekai ga mieru deshou owaranai yoru ga
tsuki no hikari wa sukuenai chi no kawaki o iyasenai owaru made”

“It’s not like I’m broken, I’m not the one who’ll be kiled
The one that will play the game of death is you, you, YOU!
Can you see the world of death, right? In this endless night
You won’t be able to save the moonlight, and your bleeding won’t dry UNTIL THE END”

God slayers…has come
Take your murdered guns and saw
Blah Blah Blah Blah…
Sad Sad* Vampire and Vampyr
Kill all the Murdog’s blade

Flowering Night Fever

kairaku shugisha no tokei no hari to
yaburetsu no ningyou samayou toki yo
gensou tadarenu
Flowering Night Fever

The hand of the hedonist’s clock
And the bursting doll of a wandering time
They won’t burn in flames
Flowering Night Fever

惨状妄想 血症裂傷 因果応報 無始曠劫
Flowering Night Fever

senjou mousou kesshou resshou ingaouhou mushikougo
Flowering Night Fever

Delusion, devastation, hyperlipidemia, laceration, cause and effect, retribution, no beginning, no profit
Flowering Night Fever


mui… garagara to kuzurete

This idleness… collapses as it rattles


血仙無死が兇れる Flowering Night Fever
魑魅魍魎跡梁跋扈 Flowering Night Fever

chisen mushi ga warureru Flowering Night Fever
chimimouryou atohari bakko Flowering Night Fever

The immortal blood hermit is wicked, Flowering Night Fever
Monsters of river! Monsters of Mountains! Rays! Rampant! Rise! Flowering Night Fever


– First stanza “dog” is refering to Sakuya. There’s a gag in Touhou project (especially on Perfect Cherry Blossom) where every character seem to call Sakuya a dog, thinking she’s one of them.
– Third stanza, “anata” is wrote three times. The first is the normal way, the second is with the kanji for “woman” (女) which implies this “you” is a woman, and the third in katakana. Katakana usually underlines stuff, just like our CAPITAL LETTERS DO. So, I used caps lock each time a words appears in katakana.
– Fourth-to-last-stanza: here comes a list of difficult japanese words / way of saying. Mh… kinda reminds me of another request I got some time ago
– Last stanza: difficult kanji part 2 – level: lunatic. Most of those kanjis have the radical of 鬼 (oni, demon) which also appears in the word 吸血鬼 (kyuuketsuki, vampire). “chimimoryou” is a yokai old term for “spirits of the valley and mountains”. Also, the last stanza has way too much difficult kanjis I don’t have faith in.


Title: Flowering Night Fever
Circle: Undead Corporation
Album: 瞬殺
Vocals: Rib;y(uhki)
Lyrics: Rib;y(uhki)
Arrangement: Undead Corporation
Release Event: Reitaisai 12
Source: フラワリングナイト (Flowering Night) – Phantasmagoria of Flower View, Izayoi Sakuya’s Theme

[REQUEST] 君の美術館 – 秘封倶楽部の未踏世界


【Requested by Darren Chiu

I’ve probably said this in other posts, but what I like about requests is that I get to know to circles I didn’t even know about.
Like this one, Kimi no Museum (君の美術官 – kimi no bijutsukan).
This song has the most brilliant choruses that I have heard in a while.
The two different voices are singing two different parts at the same time, but they somehow always end up blending together, and that’s great.
Reading the lyrics, this was very confusing, but after I’ve listened to this song I realized how good it was.
There are continuous terms that seem to be about a parallel / dream world and a strange figure ruling it.
I think this song is mainly about Maribel‘s ability to enter Gensokyo while sleeping, and thus making that strange figure Yukari.
Of course, that’s just my theory.
But being this an arrange from Magical Astronomy I don’t think it could be otherwise.
I must say the lyrics weren’t the easiest thing to translate, some part had me thinking about their meaning and structure.
But I can’t say I’m unsatisfied by its result.

Kimi no Museum – 秘封倶楽部の未踏世界


kagiri nai to omoeta souzou no jiyuu mo
kono atama no naka sokubakusareteru
toppyoushi mo nai uso nante tsukenai
botan hitotsu oseba wakaru kara

Even the freedom that I pictured being endless
Has been confined inside my head;
I won’t make up such an astounding lie
Because I only need to press a single button to understand

<常識だけ 誇大に膨れ上がる>

yo no naka o zenbu shiro to kuro de wake
michibiiteku tamashii sae kagiri aru basho e
<joushiki dake kodai ni fukure agaru>

Dividing everything from this world into black and white
Towards that place my finite soul is leading me to
<Common knowledge is swelling up with exaggerations>


soredemo mienai sora no kanata e to
musekinin’na yume naraba ikura demo kieteiku

But still, towards the direction of a sky I can’t see,
When it comes to irresponsible dreams, no matter what, they’ll disappear


todokanu sekai e tsumugidasu fureezu wa
nakushita “kibou”
kono chijou de motometsudzuketa mono
<wazuka demo shinjiteita ate sae naku>
ate sae naku hakanasa o koban demo
mada owari no yokan ga kiesaru koto wa nai

The phrase I’m bounding to the world I can’t reach is
“My hope is lost”
The thing that I keep seeking for in this world
<Even if it means nothing, I believe in it, even if no one's there for it>
Even if no one's there for it, even if you'd refuse what's transient
There's still no trace that the end's premonition is going to fade away.

<妄想なら 過大に語り続けて>

akirame mo sezu ni yume ni sugaru no wa
rikutsu sae mo oyobi mo shinai sonzai no tame ni
<mousou nara kadai ni kataritsudzukete>

Without giving up, the reason why I’m hanging on this dream
Is for the sake of a living being no theory can explain
<If you feel down, just keep your unreasonable talk on>

数知れぬ犠牲 忘却の彼方

kazu shirenu gisei boukyaku no kanata
mujuuryoku no aji sae mo itsu no hi ka nareru no?
<narete yuku?>

On the edge where lies the oblivion of countless victims,
When will I adapt to the taste of this weightlessness?
<Will I adapt to it?>


miezaru shikai ni egaki dasu koraaju wa
wasureta “risou”
kono chijou ni kizuki wa shinai mono
<mieteita basho ni sae mo tadoritsukezu>
tadoritsukezu munashisa ni kujikete mo
soredemo <mata> onaji michi e kurikaeshi fumidasu

The collage drawn by the field of vision I can’t see,
A forgotten dream,
Something that can’t be build on this world;
<Without struggling towards the place I was looking at>
Without struggling towards it, even if I’m crushed by its emptiness
I still step on the same repeating road, yet <again>


kono hakobune ni notte
doko made ikeru ka sae wakaranai

Riding this ark
I don’t even know until where I can sail


mimamoru yume no majutsushi naraba
<seikakuna> susumeru hougaku ga wakaru no?

Will I know the <right> direction to follow
If it’s about the magician looking after my dreams?


tobidatsu mirai ni utsushidasu imeeji wa
yumemita “mugen”
kono chijou de kanjitorenai mono
<doko made mo tada hirogaru hate wa miezu>
hate wa miezu muryokusa ni kidzuitemo
ooi motomeru negai ni <omoi ni>
owari wa nai no darou
owaru koto wa nai darou

The image projected into the future I launched myself in,
The “infinity” I’ve dreamed about,
Is something that I can’t feel in this world;
<Wherever I go, I can’t see just the edge of the spreading landscape>
The edge I can’t see even if I’m forced to powerlessness
To the wish I’m running after, seeking for it <In my thoughts>
I wonder if there’s something like an end?
I wonder if there are things that could come to an end…


– The parts between are those sung by the background voice. The phrases inside the ending with the same word the next stanza begins with, are actually sung at the same time.
– 幻想 (gensou) meaning “illusion” in the second-to-last stanza, is read as “yume”, meaning “dream”.


Title: 秘封倶楽部の未踏世界 (hifuu kurabu no mitou sekai) (The Sealing Club’s Unexplored World)
Circle: 君の美術館 (kimi no museum)
Album: Liminality -幻想と現実の境界で- (liminality -gensou to genjitsu no kyoukai de- // liminality -on the border between reality and illusion-)
Vocals: fi-fy & 723
Lyrics: 黒岩サトシ
Arrangement: PHEVOTT
Release Date: 12/09/09
Source: G Free, 大空魔術 ~ Magical Astronomy (Celestial Wizardry ~ Magical Astronomy) – Magical Astronomy, Tracks #07 & #08

Foreground Eclipse – A Retrospective: Part 2/5


Here’s the second part of Foreground Eclipse Retrospective (whose title should be something like “me babbling about Foreground Eclipse and forcing my opinions to readers, but we don’t care”).
There’s a link at the bottom of each retrospective post for reading the other parts, so just check it out!
As I stated on the previous post, I’ve decided to start with Wishes Hidden in the Foreground Noises for a lot of reasons, mainly being that’s the first CD I’ve ever listened from this band.
But today we’re covering the first EP, Missing, Loving… and Suffering as well as their second CD, the last from the Suzuori-era: Tears Will Become Melodies Tonight.
In my opinion, those two don’t shine as much as the other album does, and here’s an important lesson I’m revealing to you all.
I love Foreground Eclipse and they sure are one of my favourite band ever, but I’m not forced to appreciate every song they did.
When you love something or someone, you don’t have to hold back on what you don’t like about it/him/her/whatever.
You’re not forced to lie to yourself and say you like something you don’t!
…Okay, you got the picture. There will be some 1-star-rated songs on this post.
So, what is this post about?
My opinions (I’m writing this again: MY PERSONAL OPINIONS) on Foreground Eclipse’s song, with comments, stories, ratings and everything.
This is purely subjective and it’s not absolutely a critic to Foreground Eclipse.

Missing, Loving… and Suffering

Let’s not count those EPs with two tracks (FgE made a lot of those), I’ll talk about them (if there’s need to do so) on the fifth part of this “retrospective”.
Following the order, Missing, Loving… and Suffering is their very first CD that I’m glad I didn’t listened before Wishes Hidden in the Foreground Noises.
I think my first impression wouldn’t have been that good if I’d started with this CD instead of the other.
Let’s start the sh*tstorm!!

02. Wandering, Never Wondering
Personal rating: ★★☆☆☆
Long story short: The only reason I can’t give this song 1 star is because I love its guitar / bass lines.
Merami’s vocal are (I can’t believe I’m saying this) AWFUL! I love Merami and I’m f*cking goin’ to fly to Japan and marry the f*ck outta her (that sounded way too rude), but here we have a double engrish-unexperienced singer (Merami grew a lot as a singer during FgE’s carreer) combo which ruined a song with really, REALLY high potential.
But in the sky lies a gentle God that heard our prayers and decided to…
…You’ll find out on part 4 of this retrospective.

03. 恋詠
Personal rating: ★★☆☆☆
A song like others.
An arrange of Faith is for Transient People which is very calming, I must say, but nothing that is strong enough to get stuck on my head.
I can easily forget about this song, but can’t rate it 1 star because its vocals are really well done, and overall is a simple but yet nicely done arrange.
Compared to the track #02, the vocals seem to belong to a different singer.
But, talking about instruments arrange, this song only stands out for the initial guitar riff, while the other was really strong on that point.
Hey, but fear not.
The same God from before listened to our prayers again, and brought us an even better arrange of Faith is for Transient People which completely overshadows this one becau—
Oh wait, I’m not allowed to talk about it now.
Let’s talk about that again on part 3 of this retrospective.

04. Alone With You (Dying To See Your Face)
Personal rating: ☆☆☆☆

………..I’m sorry.
Let’s start saying we’re talking about the CD version of this song, not the demo CD one (which is definetely better).
And that Green Eyed Jealousy is one of my favourite touhou theme ever and it’s so difficult for me to find a fitting arrange, so I’m particularly picky when it comes to arranges for this theme.
I never liked this song.
Engrish vocals and not-so-well done, just like the track #02, but this time the rhythm, that is NOT BAD at all, is not even something that’s hard to forget, plus it completely fucks up the feel of the original theme by ZUN.
I’m sorry, that’s the first one-star song by FgE, in my opinion.
But there’s another version of this song, which we’ll talk again on part 5 of this retrospective.
I’m ending every songs’ opinion with “part (#) of this retrospective. Maybe I’m turning into a robot.

05. Throve Keys
Personal rating: ★★★☆☆
Finally something above 2 stars!
I like this song, and I was really happy to find out it was about Higurashi no Naku Koro ni which has been one of my favourite animes for a long time.
Don’t forget my nickname is Shion! Even though it’s not only due Higurashi. But who cares.
Truth is, this song’s biggest flaw are the vocals, but not because they’re bad.
They’re just weak and overshadowed by the other instruments.
If it was clearer, I would have easily gave this song 4-stars, because I really like it.
But thinking about it again… mmh… Nah, maybe it lacks of something else.
Now that I have a clear picture of how FgE make music and know lots of 5 and 4-stars worth songs, I think a 3-stars is more than fitting for this one.
Expecially if we compare this to another song wh-[COMING ON PART #3 OF THIS F*CKING RETROSPECTIVE]

06. White Wind
Personal rating: ★★★☆☆
This song is really similar both in rhythm and lyrics to Forget me Not from the previous post, but if I had to make a comparison, I’d say this one feels more like a first version of the other, making this a really good song but not as much as Forget me Not, in my opinion.
Again, there’s the problem of the voice that is weak and a bit overshadowed by the other instruments, and that’s a shame too.
This is surely the best track from this CD, and, again, this proves that FgE are really great when it comes to making original music.
Ahh~, why are they gone? WHY?!

Tears Will Become Melodies Tonight

This is the last album of Suzuori-era, which marks a new phase of FgE’s musical experience.
When I got into FgE’s music, this album was already out.
I clearly remember I listened to every other EPs / tracks as soon as they came out just after this album.
So, in a way, this album marked a new phase on my experience too.
I really enjoyed waiting for FgE to announce stuff, and, I must say, I really miss that feeling.
There’s no western / eastern band that was hyped for as much as I was for Foreground Eclipse…
[screamo sigh]

02. Fall Of Tears
Personal rating: ★★☆☆☆
I’ve listened to this song… really few times.
Because no matter what, I can’t get into it.
I know it’s not a bad song, but, at least to me, its impact is small.
For instance, its intro made a bigger impact to me than the whole song, and that’s nothing good, if you ask me.
Also, this song seems to be this CD’s most popular track (and also its symbolic track), so I’m actually kind of sad I’m not able to enjoy it as I would.
But maybe that’s also because I don’t like that much the original theme from where this comes from?
Mh. I don’t know. This song simply doesn’t talk to me.

03. Flames Within These Black Feathers
Personal rating: ★★★☆☆
Okay, this track is awesome.
It’s the most brutal from the whole album f—- No wait, it’s not. I remembered another one.
Why am I writing this when I could have simply erased the text?
I like this song and I remember liking it even more years ago.
And that’s why it’s a three-star. Because I like it, but not as much as I did before.
The drumtrack still makes me air-drum, though.
But… was it necessary the screaming? Mh…
There’s another version without screaming, and it’s probably a little bit better.
Nothing against screams, of course, but having heard the screamless version before, this one never quite felt like something better than the other.
Maybe let’s talk again about it on the fifth part? I’m sick of writing this sh*tty “let’s talk on post blablah” stuff.

04. Angels, Monsters, The Secret Lyrics
Personal rating: ★★☆☆☆
This song is like the melting clocks on Salvador Dali‘s paintings.
He drew them and realized people like it, so he put them again in at least 100 other f*cking paintings.
In other words, just because the first song was a success, it doesn’t mean you should do it over and over and over again.
This song is merely a parody of the previous one, both in style and title.
At least it’s pretty funny and the rhythm is catchy, but I can’t listen to it without hearing the other Secret Lyrics.
So… yeah, it’s nice but just nice.
By the way, this CD has the songs by FgE I forgot the most about.

05. Iris
Personal rating: ☆☆☆☆
Let’s just say this.
I forgot this song EXISTED until I came across it writing this post.
It’s not that bad actually, but… it has no shadow.
I can’t rate it 2 stars, because it’s not even close to the others I’ve rated as this.
It’s not foreground-eclipsish (WTFSRSLY) at all, and forgettable, and bland.
And, again, maybe it’s because I like the original theme a lot that this “critic” sounds amplified.
Or because it doesn’t sound like something Foreground Eclipse would have done.
But still, I couldn’t even remember this song’s existence.
That alone says it all.
I don’t actually think this song is that bad. It’s presence is just… wait, presence? I don’t think it has one to begin with. That’s the issue.

06. Magus Night
Personal rating: ★★☆☆☆
I remember this song years ago was my sh*t, I couldn’t stop listening to it.
Then, something happened.
It sounds so boring now, and I really don’t know why.
It’s not bad, of course. But not even something I’d listen until my ears would bleed.
In my opinion, this song is far from an “arrange”, and it’s more like a total transposition of the original theme into a song.
It’s not very original and it’s also very repetitive.
I can’t remember how I could have liked this song that much, but I can’t hate it either.
In the middle. Just like the whole CD.

07. Perchance To Dream: Ay, There’s The Rub
Personal rating: ★★★★★
…Okay, scrap that last part.
I f*cking loved this song when it came out on the demo CD and I still f*cking love it to this day.
I can’t even say why.
First of all, it’s an arrange of Ultimate Truth but not even a single bit of it seems like the original theme.
And that’s probably it.
Maybe it’s because it feels more like an original track that I like it that much.
Also, the engRish in this song is hard to comprehend, and so I have no problems with it, strangely.
Though I clearly remember I was shocked to find out it was actually in english.
Oh, by the way that’s the most brutal track from the CD I was talking about before, IMHO.
I don’t know why and I can’t explain why I love this song this much.
Really. It’s hard.
Let’s just accept the fact that it’s worth 5 stars, to me.
…But I actually like the demo-CD version a little better, for some reason. So this is not a full 5 stars, actually. Let’s say a 4,75 stars.

08. Calm Eyes Fixed On Me, Screaming
Personal rating: ★★★☆☆
This is by far the most famous FgE’s song from the Suzuori period.
Most of you probably don’t even know this, but this song is pretty well know in the western screamo panorama too. I clearly remember reading about it and seeing covers of it on youtube done by western fans.
Anyway, this song had a strange impact to me.
At first I didn’t like it at all, but now it’s different.
There are several parts of this song that I really like a lot (the first verses and lots of guitar riffs), but some others that I don’t like at all (some choruses, some bridges).
It’s like this song is constantly bouncing over a pitfall towards the heavens, just to fall down again and keep bouncing.
Bouncing from up to down can only mean three stars.
It’s a good song, but lacks of an integrity that, maybe, could have made this song a better one.

09. Florentia
Personal rating: ★★☆☆☆
The exact same things I’ve said about Iris applies to this one.
Except for two facts: it’s not from a touhou theme I like a lot & I somewhat remembered it more clearly.
Nothing remarkable but a bit more foreground-eclipse-ish and overall a nice song.
But again, I’ve listened to this CD very few times. So of course this post is about the absolute nothingness.

About this post

I think I can’t add anything about these two cds anymore.
At first I was sure that with Suzuori’s dismissions the band would have fall down, but this was proved to be wrong.
The next period, which starts with the Demo CD n°6 towards Each And Every Word Leaves Me Here Alone marks the rebirth of Foreground Eclipse, in which they’ll produce the best songs they ever made.
So, wait for the next post, because there will be tons and tons of stars!
Next post coming… whenever I feel like it.

Rating system:
☆☆☆☆ – Poor
★★☆☆☆ – Nice
★★★☆☆ – Good
★★★★☆ – Very Good
★★★★★ – Excellent

Retrospective parts:

Part 1: Wishes Hidden in the Foreground Noises
Part 2: Missing, Loving… and Suffering + Tears Will Become Melodies Tonight
Part 3: Each And Every Word Leaves Me Here Alone
Part 4: Stories That Last Through The Sleepless Nights
Part 5: Extra, Bonus tracks, Seated with Liquor

See you next post!
PS: don’t take my blabbering as universal laws.

[REQUEST] MD – ゆらりゆられて


【Requested by alv

I must say that’s a brilliant arrange from Cosmic Mind, that could have been better if it had a different vocalist.

MD – ゆらりゆられて

眠る時の鼓動の音 時間は止まる

nemuru toki no kodou no oto jikan wa tomaru
asahi wa itsu noboru no?

The time has stopped to the sound of the heartbeat of the sleeping time;
When will the morning sun rise?


tsudzuite yuku sutarete yuku
fune ni yurarete
natsukashii nioi ga shita

I’m being swayed away by the ship
That keeps moving on and growing older:
I nostalgic scent filled the air


mune no oku ni shimatta

It has been shut in the depths of my heart


me ga sameta toki ni “ohayou” tte itte kureru dake de ii kara ne.
ima wa yume no naka de kimi to au kara.
watashi wa daijoubu.

It’s okay if you greet me only with a “good morning” once I wake up.
But now, I’m meeting you inside my dreams.
So, I’m fine.


mou te o hanasu mon ka, yume no naka de chikatta

How can you think I’ll let your hand go? I promised you inside that dream…


ashita wa hareru kana
sonna tawai no nai kaiwa ga kimi to shitai na.
tsuyogari wa sorosoro tsurai na.

“Will tomorrow brighten up?”
I want to have this kind of guileless chat with you.
This fake show of courage of mine is soon going to become painful.


me ga sameta toki ni “ohayou” tte itte kureru dake de ii kara ne.
ima wa yume no naka de kimi to au kara.
watashi wa daijoubu.

It’s okay if you greet me only with a “good morning” once I wake up.
But now, I’m meeting you inside my dreams.
So, I’m fine.


– 比翼 (hiyoku) in the first stanza has an unclear meaning, to me. It can mean a lot of things, such as “wings” or a certain type of dress. I also read that it’s the name of the folding side of the kimono. You know, the one you HAVE to put over the other one because otherwise you’d look like a dead person.
…Following me, right? Yeah, probably not. Anyway, “wing-like dress” is incorrect, but I seriously can’t tell what it’s refering to.
– 連理 (renri) both stands for entwined branches of a tree and union between male & female. Aka a marriage, which, metaphorically, is the central image of this song.
– 汚された (yogosareta) in second-to-last stanza. meaning “being dirt”, is read as “otosareta”, meaning “thrown away”. I mixed their meanings.


Title: ゆらりゆられて (yurari yurarete)
Circle: MD
Album: デザイアマテリアル (dezaiya materiaru) (Desire Material)
Vocals: 82da
Lyrics: 82da
Arrangement: 82da
Release Event: Touhou Kouromu 9
Source: 感情の摩天楼 ~ Cosmic Mind (Emotional Skyscraper ~ Cosmic Mind) Unidentified Fantastic Object, Hijiri Byakuren’s Theme

CLOCKWORKS TRACER – Bride of Despair


First of all, thanks to Eiki for sending me this song’s lyrics.
Clockworks Tracer are always welcome here. In spite of the fact I always mispell their name.
So, I read everywhere that a lot of people were trying to search for this song’s lyrics between the comment section of youtube / whatever.
Let’s post them today and put an end to this problem. More or less.
Also, I wanted a picture of Satori in a wedding dress, but couldn’t find anything but R-18 ultrap0rn.

CLOCKWORKS TRACER – Bride of Despair

その言葉の陰 愛でて撫でて口づけて
露わになる心象と 今結ばれて
(This fate even mock my grief)
(There’s no fuckin’ wedding ring)

sono kotoba no kage medete nadete kuchidzukete
arawa ni naru shinshou to ima musubarete
(This fate even mock my grief)
giman o kakusu celebrate
(There’s no fuckin’ wedding ring)
hiyoku ni shibarareru

I’m so fond of those words’ shadows, I hold onto them and kiss them
The impressions I had, now exposed, has become entwined together
(This fate even mock my grief)
I’ll hide each deception and celebrate
(There’s no fuckin’ wedding ring)
Tied in a wing-like dress


abakareta junpaku no veeru
amaku toku akumu ni oboreta dake
chikai wa kokoro saku noroi
awaku saku kitai no hana o chirashite…

The pure white veil has been exposed
Just to sink and melt inside a sweet nightmare
A promise is a curse that rips open the heart
And makes fall the petals of the blossomed flower of expectation

その言葉の陰 愛でて撫でて口づけて
露わになる心象に ただ寄り添って
(This fate even mock my grief)
(There’s no fuckin’ wedding ring)

sono kotoba no kage medete nadete kuchidzukete
arawa ni naru shinshou ni tada yorisotte
(This fate even mock my grief)
giman o mitasu celebrate
(There’s no fuckin’ wedding ring)
renri wa kare ochiru (Wither)

I’m so fond of those words’ shadows, I hold onto them and kiss them
The impressions I had, now exposed, are now getting closer
(This fate even mock my grief)
I’ll fill my deceptions and celebrate
(There’s no fuckin’ wedding ring)
Entwined tree branches falls down as they wither (Wither)


otosareta junketsu no buuke
honogurai honoo ni yakare kuchite
sutendogurasu ni utsushita
kono zetsubou to towa ni soitogete…

The pure bouquet thrown away covered in dirt
Rots away devoured by a faint flame
Reflected inside a stained glass
I’m endlessly married for life to this despair…

Bride of despair!!


abakareta junpaku no veeru
amaku toku akumu ni obore ochite
chikai wa kienu kizu nokoshi
utsuro ni irodzuita hana o sakasete…

The pure white veil has been exposed
To sink and melt inside a sweet nightmare
A promise leaves a scar that won’t fade away
And makes a flower painted in void blossom…


– 比翼 (hiyoku) in the first stanza has an unclear meaning, to me. It can mean a lot of things, such as “wings” or a certain type of dress. I also read that it’s the name of the folding side of the kimono. You know, the one you HAVE to put over the other one because otherwise you’d look like a dead person.
…Following me, right? Yeah, probably not. Anyway, “wing-like dress” is incorrect, but I seriously can’t tell what it’s refering to.
– 連理 (renri) both stands for entwined branches of a tree and union between male & female. Aka a marriage, which, metaphorically, is the central image of this song.
– 汚された (yogosareta) in second-to-last stanza. meaning “being dirt”, is read as “otosareta”, meaning “thrown away”. I mixed their meanings.


Title: Bride of Despair
Album: Serenitia e.p.
Vocals: WeatherH, やーぱん (Yapan)
Lyrics: やーぱん (Yapan)
Arrangement: やーぱん (Yapan)
Release Event: C84
Source: 少女さとり ~ 3rd eye (Satori Maiden ~ 3rd eye) Subterranean Animism, Komeiji Satori’s Theme

Foreground Eclipse – A Retrospective: Part 1/5


Time for a different kind of post (kinda foreshadowed before).
Most of you already figured out, but I like Foreground Eclipse a lot.
There has never been a band that made a huge impact on me as they did, and while right now I’m not sure I can say they’re the band I like the most, they’re surely one of the most important band I’ve ever listened to.
The band released their last album on December 2013, thus marking their end.
Some says “there are two kinds of musicians: those who die as legends and those who live long enough to become sh*t”.
I think Foreground Eclipse died as a legend.
In terms of music, a lot of people doesn’t know that Foreground Eclipse changed their arranger through their carreer.
The arranger, aka the composer, is the structure of the band.
But people seem to ignore this. Just like those guys who thank the uploader of a subbed video instead of thanking the one who translated everything. F*ck you! (justkiddingofcourse)
The original formation had Merami as the lead singer, Teto as the drummer / scream vocals and Suzuori as the bassist / guitarist.
Most of the arranges are labeled “Foreground Eclipse” on the first albums, but each and every original track has been composed by Suzuori.
So, the first Foreground Eclipse original sounds were Suzuori’s.
But the formation changed on 2011, with Suzuori’s left during the production of Each And Every Word Leaves Me Here Alone.
Let’s start from the Suzuori period from this post.
So, what is this post about?
My opinions (I’m writing this again: MY PERSONAL OPINIONS) on Foreground Eclipse’s song, with comments, stories, ratings and everything.
This is purely subjective and it’s not absolutely a critic to Foreground Eclipse.


Wishes Hidden in the Foreground Noises

For this first post, I’d like to talk about the first album I’ve listened to rather than the first one they produced (and also this wordpress’ namesake).
You can see at the bottom of this post how I’m going to deal with song rating and posts order.
I can’t remember what year was it when I first listened to this album, but sure was a long time ago.
Should be around the time it came out, around 2010-2011.
I think of this as the best album from the Suzuori period, completely overshadowing the previous and the next one (which I’ll discuss in the next post).
And here’s what I think about the tracks featuring in it.

02. Vermillion Halo
Personal rating: ★★★☆☆
This is the very first Foreground Eclipse’s song I’ve ever listened to, and I found it randomly while looking for arranges of Riverside View.
I clearly remember I’ve listened to it without knowing Foreground Eclipse nor their album, and when I first got to listen to the whole Wishes Hidden in the Foreground Noises, I was very disappointed.
My musical tastes were not the same I have today, and I wasn’t particularly fond of screamo music, so this song was the only song I could have listened to without saying “why the screams, WHY?!”.
What I really liked about this song is the guitar rhythm which is both powerful and very delicate, and I also loved the final segment where the song fades out into that peaceful lalala~. Ohh, Merami.
Nowadays, I don’t listen to this song so much, because Foreground Eclipse has changed a lot, and with them my music tastes have changed too.
It’s still an amazing song and a nice arrange of Riverside View, but the myself of 2015 can’t give it more than 3 stars.
Maybe, some years ago, this would have been a 5/5.

03. Oath of Allegiance
Personal rating: ★★★★
The exact opposite of the previous song.
At first, I hated it with all my heart. I wasn’t into screamo music and couldn’t understand how “those screaming are considered music”.
I can’t clearly remember when I fled from this way of thinking and started to like screamo music.
But still, is a type of music that I still enjoy a lot today, and it’s of course thanks to Foreground Eclipse.
This song is so epic, how can someone dislike it?
First of all, its arrange is brilliant, and the double singing it’s one of the most well done I’ve ever heard.
Plus, the whole song is very aggressive but its lyrics are really soft, and that’s what makes it even more brilliant.
It’s a song that I won’t get tired listening to, no matter what.
Not worth 5 stars, but keep on mind that 4 stars it’s like saying “full marks”, while 5 stars means “full marks and hearts drawn around it with a red pen”.
That’s the most retarded metaphor ever.

04. I’m The Seeker (Maybe Each Your Word Calls For It)
Personal rating: ★★☆☆☆
Warning! 2 stars doesn’t mean I don’t like it! Only 1-star songs are “bad” scored.
This song is pretty brutal too, but I never actually got really into it.
Of course I like it, but there are lots of things about it that I can’t really stand.
First of all, the rhythm is cool but hard to listen because of its complex tempo, I can’t simply relax listening to this!
Second, the english sections.
Okay, I should be forgiving on japanese people singing in english (and I am, expecially if we’re talking about Merami), but while on other songs by them is pretty hard to understand the english section, in this one they’re pretty clear.
So, wrong pronunciations are pretty clear too.
There are FgE’s songs that I didn’t know were in english at first!
Also, the japanese section of this song is really good, and it’s a shame it’s so short.
I think they should have keep that type of sound for this song.
Still, this song builds up a clear picture of what its lyrics are talking about. And that can’t be negative at all.

05. Dancing With Happiness And Sadness
Personal rating: ★★☆☆☆
Pretty much the same things I said about the previous one can fit into this.
With the exception that this song isn’t brutal at all.
I’d say this song is not foreground-eclipseish (??) at all.
It’s still a nice song, but are we really sure Foreground Eclipse are behind it?
Nothing particular, but well executed.
Can’t give it 1 star because I don’t think it’s a bad arrange, but it isn’t that outstanding too.
If I didn’t know this song was on their CD, I would have guessed it was a different circle, like Draw the Emotional. That’s exactly why I can’t take this song as a FgE’s one.

06. In A Night When Her Sorrow Resounds Around
Personal rating: ★★★☆☆
When I finally got into screamo music, this one was probably my favourite track of the whole CD, at the beginning.
While I still think of it as an amazing arrange with nice lyrics / vocals, I can’t say that it stands out that much as I thought before.
That’s because its rhythm (which I like a lot, of course) lacks of something.
The drum section is marvelous and the guitar is really good, but I can’t say the same about the piano / chorus vocals and sometimes the normal vocals too.
It’s not like they’re bad, they’re just not-so-fitting sometimes.
To me, it sounds like the whole song lacks of something in some parts.
As if it’s filled with empty moments that should have been filled in some way or another.
And now it looks like I’m criticizing this song, but I’m not.
This song meant a lot to me back on those days, and I still love it as I did before.
Also, this song randomly shouts “Senses Fail” at a certain point.
And googling, lots of years ago, I found out it was a band. So, I’ve listened to “Bite to Break Skin” by them and…
They’re still one of my favourite band nowadays.
It’s amazing how things that happen randomly lead you into find something new and special.
And I could have never find out about them if it wasn’t for Foreground Eclipse!
I’m thankful to them in each and every possible way.

07. Truths, Ironies, The Secret Lyrics
Personal rating: ★★★☆☆
By far the most brutal out of the album, I swear it could have love it even more if its lyrics weren’t like that!
But that’s also what makes the song special.
Foreground Eclipse are actually one of the most succesful band on the touhou doujin panorama, and when this album came out, they weren’t yet popular.
So, I always symphatized with the lines on this song where they wish they were as popular as other touhou-music circles.
By now, the gained even more fame than most of them, and I couldn’t be happier.
Also, I remember I was pretty shocked reading its lyrics.
They were, indeed, “Secret”.
The arrange, by the way, isn’t half bad.
Everyone not paying attention to the lyrics could mistake it for a proper song with proper lyrics, because its structure suggests so.
I think this song shines more for its bizzarre lyrics rather than its actual musical contents.
That’s why I can’t give it more than 3 stars. It’s a good song after all.

08. Forget Me Not
Personal rating: ★★★★★
There we go, the first 5 stars!
I’m saying this on this first post and it can easily apply to every other post: Foreground Eclipse is a great musical circle and their touhou arranges are really good, but the songs where they shine the most are those that doesn’t involve Touhou project.
But we’ll talk again about it on other posts, expecially when we’ll come in contact with certain songs.
For now, let’s focus on Forget Me Not.
This song is outstanding.
No screams, and there’s actually no need for them, a simple and smooth guitar track that one can’t get away from his/her mind, a calming and intense bass line and an energetic yet somehow really appropriate drum beat that, along with one of the most beautiful lyrics from the Suzuori-era, makes the first original Foreground Eclipse song to shine brighter than the other tracks on the same CD.
I think of this song as the best original track from the first era of Foreground Eclipse, but it also made me realize something about the next era.
But… we’ll talk about it once we reach the third post.
Anyway, this song has everything a masterpiece requires.
The best track of the album in my opinion, and, still in my opinion, a little bit overshadowed my other tracks that aren’t as great as it is.
And it means a lot to me. Let’s not forget everything’s just part of my opinions.

Personal rating: ★★★★
Well, this song too, like Vermillion Halo or In a Night When her Sorrow Resounds Around, used to be one of those who I couldn’t stop listening to.
Like other screamo tracks, I completely ignored this one at the beginning, only to discover, later, that it was indeed an awesome track.
I also named my previous (failure-filled) wordpress after this track, and I think there’s actually a western touhou music circle that uses it as their name.
The song isn’t an original not either a Touhou arrange, it’s a remake of a previous song sung by Merami by the circle SUPER POWER.
This song is, in my opinion, one of the most important Foreground Eclipse’s song, but to explain it better we need to wait post #4 and #5.
So, keep it on mind for now!
I don’t listen to this song that much nowadays because it marked a certain period of my life, and I want it to stay as it is.
So… yeah, I love this song but I can’t say I listen to it that often as I did before!

About this post

I decided to start with their second album because it’s the first one I’ve listened to, and, in my opinion, the best and most important album from the first Foreground Eclipse’s period.
The next post will be about Missing, Loving… and Suffering and Tears Will Become Melodies Tonight, which are, in my opinion, far from this album’s sounds, in a general way (and the two albums I dislike the most…).
You can check the rating system down below, as well as the posts order.
Hope you enjoyed reading all of this, and I hope everyone asking me opinions about Foreground Eclipse will be satisfied!
Next post coming… maybe not so soon, but coming for sure.

Rating system:
☆☆☆☆ – Poor
★★☆☆☆ – Nice
★★★☆☆ – Good
★★★★☆ – Very Good
★★★★★ – Excellent

Retrospective parts:

Part 1: Wishes Hidden in the Foreground Noises
Part 2: Missing, Loving… and Suffering + Tears Will Become Melodies Tonight
Part 3: Each And Every Word Leaves Me Here Alone
Part 4: Stories That Last Through The Sleepless Nights
Part 5: Extra, Bonus tracks, Seated with Liquor

See you next post!
PS: check this post’s category.



【Requested by Lonesome Shrine

That’s an ending for something I’m missing, right?
I mean, I have no idea from where this comes from, but I’ve read it’s used as an ending for some touhou-related stuff (edit: indeed, Osana Reimu).
I don’t think I’m the smartest when it comes to find out stuff about something.
Still, every youtube link to this song features a smiling face of Marisa, so I was hoping it would have been a cheerful song.
Turned out it isn’t.
Its rhythm is indeed well suited for an ending, and its lyrics too.
I can’t say this song is “sad”.
I’d rather say it’s one of those bittersweet songs, like those who talks about a beautiful journey that just ended.
Not so happy but not even that sad.
I hope I’m not the only one who thinks of it this way.
I like the bass for this song a lot, it’s so calming!
The vocals aren’t bad too, but I think a different type of voice would have been better.
This one’s a little bit too high pitched to go along with the song, in my opinion.

KRASTERII – 願い星、帰り道

いつからかこんなにも当たり前になってる 君と眺める景色

yawarana kaze ga fuku yuuyake no kaeri michi
kotoba o nakushite aruita
itsu kara ka konna ni mo atarimae ni natteru kimi to nagameru keshiki

I walked on a sunset road where the gentle wind blows
And I lost everything I had to say
I wonder since then has the scenery you’re looking at become so obvious?

悔しくて泣いた夜 二人笑った時間
誰よりも何よりも君だけだと 秘めた恋心

kuyashikute naita yoru futari waratta jikan
omoide no tsumoru ashiato
dare yori mo nani yori mo kimi dake da to himeta koigokoro

Those regrettable nights spent crying, and the time when we laughed together
Footprints of piled-up memories
Of a newborn love for you, above everyone, above everything.

幾度も探った気持ち あの箱に仕舞って
抑えきれない視線 面影を求めた

ikudo mo sagutta kimochi ano hako ni shimatte
osaekirenai shisen omokage o motometa

The feeling I’ve searched for so many times was put away in that box
I’ve been seking for that expression, that look I can’t simply get from you

隣合わせ 同じ速さでも いつか離れてしまうのかな
そんな明日壊したくて でも言えなくて

tonari awase onaji hayasa demo itsuka hanareteshimau no kana
sonna ashita kowashitakute demo ienakute

I wonder if we’d part away even if we’re running at the same speed side by side?
I want to destroy this kind of future, but I can’t say that

目が合た意識した いつも通り振舞った
どれくらい気付いてる?期待してる 変わらない笑顔

me ga atta ishiki shita itsumo toori furumatta
taai mo nai hanashitari
dore kurai kidzuiteru? kitaishiteru kawaranai egao

We were conscious as our eyes met behaving as usual
Talking with no trace of altruism
How much of it would you notice? My smile of expectation isn’t changing.

どうでもいい理由付けて 呼び出した星空
勢いで頬を寄せて 願いを唱えた

doudemo ii riyuu tsukete yobidashita hoshizora
ikioide hoho o yosete negai o tonaeta

“Whatever”, that’s the excuse I’m going with, shouting at the starry sky;
I’ve gathered courage and got closer to your cheeks, chanting a wish

ずっとずっと素直じゃないけど いつか伝わる日が来るよう
閉じた扉の奥には 君の全てが

zutto zutto sunao ja nai kedo itsuka tsutawaru hi ga kuru you
tojita tobira no oku ni wa kimi no subete ga

I’m not always honest, but I’m wishing the day we could get along will come
Everything you are and everything you have is far deep that closed door

重ね握った温もり いつか繋がる日が来るよう
同じ夕陽が照らした 君と帰る道

kasane nigitta nukumori itsuka tsunagaru hi ga kuru you
onaji yuuhi ga terashita kimi to kaeru michi

Wishing for the day I’ll be tied to that piled up warmth I once held firmly to come,
On the road where I’m going home with you, shined the same setting sun.


– The lack of pronouns on this song makes it difficult to understand who are some sentences refering to. So, whenever you read “I” or “You”, it’s uncertain if it’s one or the other.
– 明日 (ashita) on the fourth stanza means “tomorrow”, but I’ve translated “future” because it’s supposed to indicate “tomorrow” as “the time that will come”.
– 君の全て (kimi no subete) on the second to last stanza is “your everything”, but I’ve translated it as “everything you are and everything you have” because it sounded better.


Title: 願い星、帰り道 (negaiboshi, kaeri michi) (wishing star, road of return)
Album: Kraster Cluster
Vocals: 羽丘淳
Lyrics: Ne;on
Arrangement: 羽丘淳
Release Event: C86
Source: オリエンタルダークフライト (Oriental Dark Flight) Phantasmagoria of Flower View, Kirisame Marisa’s Theme