Chapter 4.6: moment / Implanted Seed - Seed -
- Clover Z
- May 13
- 5 min read
moment
In 2008, when we were about to make our major debut with Sony, we decided to include a photo booklet that I shot with the single "moment A rhythm." It was a time when we wanted to package not only the aggressive single, "Telecastic fake show," which everyone could recognize at first listen, but also the world view of Shigure that went beyond just that.
The feeling of bringing not only the intense aspects but also the other side to our first major release is still clear to me. With the intention of expressing the band visually within the single that extended over 16 minutes, I decided to go to the UK, which was my root as a musician.
At that time, I wasn't very familiar with film photography. I had only used a panoramic camera that I received as a child a few times. Using that camera, which couldn't be developed in the usual way, to repeatedly capture the unchanged sky was something my mother often scolded me for.
At the age of 20, I felt a sense of discomfort when I first visited the UK. I gradually realized that there was something in Japan that was lacking, a mixture of intense loneliness and alienation. With a clear purpose of creating a booklet, I went back to that place. I packed LOMO and Vivitar cameras, commonly known as toy film cameras, and some cheap CENTURIA films that I bought without knowing much about them, into my bag. I also put Canon and Ricoh digital cameras in the trunk, not knowing if they would really work. It seems like I had a lot of luggage even back then. My trunk was a lightweight one with "Success" written on it, but I couldn't remember if I bought it myself or if my sister gave it to me.
I traveled to various cities with my manager. London, where time flowed quickly as always, and Oxford, where I visited after a long time, made it feel like the time in my heart was slowly resurfacing as it was back then. I was taking photos with a digital camera and going through the trouble of capturing the same angles with a film camera whose results I wasn't even sure of. There was no preview screen after shooting. At that time, the effects of airport X-ray inspections on films were still a concern, and I didn't even think I would be able to develop them safely. I refused to have my bag with the film inspected at the security checkpoint on the way back (I managed to pass through because it was Narita Airport), but when they just threw me into the inspection lane, I felt like I had lost everything.
I would back up the photos from the digital camera in the hotel each time, but I keenly felt that the high-resolution "as you see it" photos were clearly different from what I was seeing with my own eyes precisely because I was on location. I wondered what "resolution" really showed us.
When the developed film came back from the nearest "Bic Camera" after returning to Japan, I remember how the landscapes I had seen in the UK just a few days ago immediately came back to life. It seemed as if the particles that resembled the moment when sound distorts and the eternal feeling that expressed the colors between colors were captured in those photos.
Because I still remember that sensation from that time, I always bring a film camera when I go abroad.
The song "moment A rhythm" became our major debut single. No matter how much emotion I stab into a 12cm CD, those fleeting moments that are destined to be forgotten, I concealed them a little bit.
moment A rhythm
どうか見覚えのないこの瞬間を 例えば12センチで君を描いたら
If I could capture this unfamiliar moment, like painting you on a 12-centimeter canvas
遠くオレンジの集合体さえも触れられるように
Even that distant orange cluster might become reachable
空中線 たったあの日をimageする
A signal in the air — just that one day, playing in the mind
例えば僕の片隅に誰にも届かない景色 暗い空の上を歩いて
A hidden view in some far-off corner — walking above a dark sky, unreachable
違和感ある時間に君は眠りにつく 歪な窓越しに覗いて
Falling asleep in a time that feels off — watching through a warped window
例えば鉄の向こう側に体を投げ出して 溶かして息を止めた
Throwing a body past the iron boundary, melting away, holding breath.
例えばこの冷たい感触も 孤独な鉄の感覚も見えないでしょう
Perhaps this cold sensation, this lonely metallic feeling — unseen, untouched
もう少しだけ目に映し出されるように
Just a little longer — to remain reflected in the eyes
例えば12センチおきに刺すけど
Say it pierces every 12 centimeters
目を瞑った瞬間に 全てが
The moment the eyes close — everything slips away
例えば12センチの瞬間を何回描いたら
How many times must these 12-centimeter moments be drawn
遠いオレンジの集合体さえも 触れられるように
Until even that far-off orange cluster becomes reachable?
例えば不思議な世界に体を投げ出して 息を失くしたら 一人になる
Throwing yourself into a strange world — losing breath and being alone
誰もが後ろを振り向いて少しだけ思い出した
Everyone turning back just a little — a faint recollection
見つけられないフレーズ
A phrase that cannot be found
例えば12センチおきに刺すけど 耳を塞いだ瞬間に 全てが
Even if it pierces every 12 centimeters — the moment ears are covered, all of it fades
曖昧な顔をして 12センチおきに刺すけど
With an unclear expression — still, the 12-centimeter pierces again and again
わかりづらいフレーズで 全てが
And everything dissolves in a phrase too hard to follow
息を失くした瞬間に 時間の許した瞬間に
The moment breath is lost — the moment time allows
破壊されていく
Things begin to break apart
曖昧な顔をして 12センチおきに刺すけど
Still, with that vague expression — the rhythm strikes every 12 centimeters
共振するフレーズに 全てが
Until everything resonates in a shared phrase
君の知らない世界がどこかに 見覚えを忘れて浮かんだあの日に
A world never known — it surfaced somewhere, on that day when memory let go
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