半透明少女関係
向井秀徳
都市は騒 鳴る救急車か消防車
夕方時間 そろそろ火が付く甘い予感
北から南 全国共通の営み
肉体の欲求 全世界共通の呼吸
KANKEIない KANKEIない 俺と貴様は関係ない それでもどっかでつながる関係
半透明少女があそこで漂流しよるよ
DRIFTING GIRL そのとんがらがってる口元はKANKEIを求めてた
夕方時間をさまよって 関係者が見つかったかどうかは俺には関係ない
KANKEIない KANKEIない 俺と貴様は関係ない 夕方時間の関係
KANKEI KANKEI 俺と貴様は関係ない 俺と貴様は関係ない
関係ない 関係したい 関係もちたい KANKEI
「関係者出てこい」
だれかと繋がっとかんと自分の存在が消えてなくなりそうな不安と恐怖に駆られ女はひっきりなしに男を鞍替えしても満たされん関係欲求 そのうすっぺらい半透明の関係を漂流し続けているのは夕暮れの風景の中
コミュニケイション不能状態かなんか知らんばってんがたい だいたい、俺と貴様は関係ない 人と人との繋がりははかない それでもどっかで繋がるこの関係 半透明なKANKEI うっすらぼんやり見え隠れするこの世の諸行の背後関係
Transparent Girl Connection
Mukai Shutoku
The city is disturbed by the siren of an ambulance or fire truck
In the evening, a sweet premonition gradually catches fire
All over the country, from north to south, everyone goes about their lives
All over the world, everyone has desires of the flesh
No connection, no connection, there’s no connection between you and me, and yet, somehow, we are connected
Transparent Girl is adrift over there
Drifting Girl wishes for a connection out of the corner of her mouth
The evening drifts by, but whether or not they found a connection has no connection to me
No connection, no connection, there’s no connection between you and me, no connection to the evening
Connection, connection, there’s no connection between you and me, there’s no connection between us
There’s no connection, but I want to connect, I want to have a connection, connection
“Everyone, come on!”
Failing to form connections creates the anxiety that you will cease to exist and women are driven by fear to leap from one man to the next in a string of unfulfilling sexual relationships. These thin, transparent connections continuously drift by in the evening landscape
Lack of communication frequently leads to misunderstandings. There’s no connection between you and me, connections between people are fleeting, and yet, for some reason, we have these connections, transparent connections. Everything in this thin, vague, wavering world is connected by the past
NOTES:
Some of the dialect in the song was difficult to understand, but I think I’ve interpreted it correctly. For example, 繋がっとかん (tsunagattokan) is the same as 繋がっとおかない (tsunagattookanai), I think, and 繋がっとおかない is the same as 繋がっていない (tsunagatteinai), I think. However, if my understanding of this is inaccurate, please leave me a comment.
The last word in the song is 背後関係 (haigokankei), and both of my dictionaries translate this word as the background of a person or event. It seems that Mukai is also playing off of the word 関係 (kankei), or connection, within this word, as well, so I had to toy around with the ending for a while to come up with something fitting — a connection to the past. More literally, the ending would read, transparent connections, thin, vague, the background of earthly phenomena in this world that appears and disappears.
Mukai also plays with the word 関係 (kankei) by using 関係者 (kankeisha) to refer to the people he talks about. It means something like “concerned parties,” so, for instance, the end of the second verse might also read, and whether or not the concerned parties are found has no connection to me. However, I think he may want us to read 関係者 less as interested parties and more as people (者) with a connection (関係).
夕方時間の関係 — lit. evening time connection. I’m not sure what he means by this at the end of the second chorus. connection in the evening? sunset connection? It doesn’t seem to correlate to the rest of the chorus, so I took some liberties.
「関係者出てこい」 — lit. “Concerned parties, come out.” I thought about, “Everyone, come out,” or, “Everyone, come on out,” but simply writing “Everyone, come on!” seemed to work best. He’s calling those concerned to come out and join him, to get connected.
半透明 — lit. half-invisible, so semi-transparent would be more accurate. And, to paraphrase Frost, translucent is also great, and would suffice.
Entry No. 1 