Lyrics by Junia Brutus Copyright © 2025
(Verse 1: stepwise or small intervallic leaps, maintaining a relatively narrow range, perhaps descending slightly at phrase ends to emphasize the contemplative, slightly somber mood. The melodic rhythm aligns closely with natural speech patterns, creating an intimate, narrative feel, Implied A Minor (or other minor key), establishing a contemplative, slightly somber mood)
満員電車の窓に映る 知らない顔ばかりだ
あの日の私が探してたものは何だっけ
胸の奥でまだ疼(うず)く棘(とげ)のせいかな
(Bridge: convey a visceral sense of desperation or suffocation, potentially with a subtle increase in volume or intensity, indicating the emotional pressure, wider melodic range than Verse 1, with more pronounced ascending phrases, reflecting the yearning for escape and freedom, Still primarily A Minor, but with a sense of forward motion or yearning, possibly hinting at a momentary shift towards the relative major (C Major), before returning to the minor for the concluding line.)
時計を捨てて 地図も破って
終着駅まで片道切符で
鳥のように この空を翔けて
遠くへ行きたい こ
(Chorus: Shifting to a more hopeful or wistful F Major (or relative major) for the imagery of the shining sea, then subtly transitioning back to A Minor for the internal reflection, creating a sense of bittersweet understanding and lingering unresolved tension)
錆びたバス停の向こう側 知らない海が光ってた
あの時君が吐いた溜息が今になってわかる
喉にまだ何かがつかえている
(Verse 3: Detached tone. maintaining the underlying A Minor key, but with a strong sense of forward momentum and resolve, reflecting the decisive actions described. The harmonic progression might feel more direct, pushing towards a sense of finality)
昨日も捨てて 明日も忘れて
最終便のバスに飛び乗って
潮騒に混ざり 泡沫に消えて
沈黙だけが
(Bridge: Reflecting the internal conflict and frustration. Remains in A Minor, but with increased harmonic tension, reflecting the internal struggle and the rejection of false platitudes. The harmonic rhythm might slow down on the reflective parts and speed up on the frustrated parts , creating dynamic shifts that mirror the emotional shifts)
答えなんてどこにもないこと
本当は初めから知ってたんだ
「居場所がないなら作ればいい」ってさ
そんな綺麗事、もう聞きたくないよ
忘れるためにここまで来たのに
忘れたいことだけ忘れないんだ
(Verse 4: this verse concludes the narrative arc with a sense of resigned drifting, where the earlier active desire for escape transforms into a passive acceptance of solitude and aimlessness.)
夜になって 朝になって
知らない街で一人になって
意志のないまま 流されるまま
眠るみたいにた
(Outro: a slight upward inflection, emphasizing the lingering doubt, Simple, descending melodic fragments, resolving downwards, creating a sense of finality and quiet acceptance. The melody should be sparse and unadorned, reflecting the raw, unmasked emotion and the quiet resignation. A clear, unambiguous resolution to A Minor, but with a sense of quiet, melancholic finality rather than a strong, triumphant cadence. The harmony becomes extremely sparse, perhaps just a single sustained chord or a fading arpeggio, emphasizing the emptiness and conclusion)
世界の果てで呟(つぶや)いた
「これでよかったのかな」
返事のない独り言
風が頬を撫でる
ただ、それだけだった