INDEX
Avoiding Dreamlike Fantasy and Singing About the Real Zion in Tokyo
-Is the line from “兄弟” about Kurt Cobain’s “decadent voice” on MTV based on your personal experience?
Shimotsu: I first encountered NIRVANA through their MTV Unplugged performance, so I initially thought they were a folk band [laughs]. The voice in that performance had a melancholy quality to it, and I remember thinking, “It’s like he’s half dead.” That feeling has always been a part of my rock sensibility, and I think many people are drawn to that aspect of Kurt Cobain. I wrote about it in the song, thinking that while you can’t always express pain directly to friends, maybe you can through music.
-You mentioned before that the lyrics “Don’t let it show on that channel” from “Boy” are inspired by BECK’s MTV interview.
Okubo: We’re from the cable TV generation.
Shimotsu: It’s the cable blues. I liked that sense of restriction. I envy the music bubble of the late 1980s, but I don’t think I’d be taking music as seriously as I am now if I had lived through that era.
-It has been five years since “Odotte Bakari no Kuni” established their own label. In the past, if the music industry had been more rigid, such activities might not have been possible. However, we are now in an era where independent activities are feasible. Still, there are not many bands with a career like “Odotte,” who, despite operating independently, consistently perform in large venues, such as outdoor concerts.
Shimotsu: Everyone quits.
Taniyama: The biggest factor is that our manager, Nakamura-san, has been thinking a lot about how we appear and how to manage everything. When we started with just the five of us, it was quite haphazard, but he helped us organize things, so we’re surprised at how things have turned out. We started with just the amount we could contribute—about 150,000 yen [laughs].
Shimotsu: Performing at Hibiya Outdoor Theater made me realize that we definitely didn’t get there on our own. If we had a management company, they would handle everything, and the artists wouldn’t see the struggles behind the scenes. It’s a bit harsh to say, but sometimes that can lead to arrogant and insincere behavior. However, since we have to interact directly and make decisions ourselves, I think we made a good choice. We understand the struggles and what it means to stand on stage, which might set us apart from other bands. Of course, there are others who have always done it this way too.
-It might be a bit of a stretch, but I feel like our direct communication and hands-on experience help us sing songs like “Brothers” with a sense of authenticity and conviction.
Shimotsu: Most of my friends who are in bands are also struggling with music. But it’s a positive kind of struggle, so I hoped to write a song that could encourage people like them. Personally, this song has been a source of motivation for me as well, and I really think it turned out well. It might sound a bit self-serving to say it, but I think it’s a great song [laughs].
-I think of Quruli’s “Rock’n’Roll” as a song that motivates, and I feel that “Brother” is similar in that regard. Finally, could you tell us about “ZION,” which was the starting point for this album?
Shimotsu: In reggae songs, “ZION” is often mentioned with lines like “Let’s aim for Zion,” but no one has sung about a sense of Zion that’s just barely there or uncertain. I didn’t want to discard the image of a young person firmly grounded in reality but still looking up at the sky in Tokyo, reflecting on Zion. I didn’t want to present an idealized dream. However, since we need to cling to hope to keep going, instead of ending with “I want to go” or “I’ve been there,” the song ends with “Take me with you too.”
-The song captures the genuine uncertainty of whether such a place truly exists, reflecting a state of inner doubt, while still embodying a subtle wish for hope. It doesn’t end on a grand note but leaves a lingering sense of unresolved emotion, which adds a nice touch.
Shimotsu: The song also suggests that the journey continues. It leaves you with a sense of “look forward to what comes next.”
Odottebakari no Kuni “On the shore”
Release: 2024.7.24
Format: CD / Digital
Price: ¥3,300 (¥3,000 without tax)
Label: FIVELATER
Track: “On the shore
1.Universe
2.兄弟
3.H2O
4.Au te amour
5.サテン
6.On the shore
7.ビー玉
8.燈
9.ムカデは死んでも毒を吐く(DADGAD Ver)
10.ZION
Overdreamt
Title: “Winter Light 2023 at Hibiya Open-Air Concert Hall
Release: 2024.7.24
Format: Blu-ray photo book
Price: ¥7,480 (6,800 without tax)
Label: FIVELATER
OfficialWeb： odottebakarinokuni.com/
STORE: store.odottebakarinokuni.com/
Official Twitter: twitter.com/odotte_official
Official Instagram: http://www.instagram.com/odottebakarinokuni_official/
YouTube: www.youtube.com/channel/UCu12TV4dEZdb04omq4aWfvQ
Odottebakari no Kun｜On the shore release tour
September 28, Yokohama Bay Hall, Kanagawa
October 4, Hiroshima CLUB QUATTRO, Hiroshima
Oct. 6 Takamatsu DIME, Kagawa
Oct. 19 Matsumoto MOLE HALL, Nagano
Oct. 20th Kanazawa vanvanV4, Ishikawa
Oct. 25 Sapporo PENNY LANE24, Hokkaido
Oct. 26 Asahikawa CASINO DRIVE, Hokkaido
Oct. 31 Kumamoto NAVARO, Kumamoto
Nov. 1 Fukuoka BEAT STATION, Fukuoka
November 3 Naha Output, Okinawa
Nov. 4 Naha Output, Okinawa
Nov. 15 Sendai MACANA, Miyagi
November 22nd NAGOYA THE BOTTOM LINE, Aichi
Nov 23 Osaka Ajien Universe, Osaka
November 30 Ebisu GARDEN HALL, Tokyo
Ticket Official Site Advance
Acceptance period
July 12, 2024 (Fri.) 21:00 – July 28, 2024 (Sun.) 23:59
https://eplus.jp/odotte24tour-of/
