List of Translations

These translations are predominantly of lyrics by Takashi Matsumoto, originally of Happy End (all Matsumoto lyrics are marked with the symbo...

December 15, 2024

Translation: The Kittens of the Apple Forest (Mari Iijima)

Back when I was translating a Matsumoto song or two a day, 1983 felt like a wasteland, and wound up making me feel pretty discouraged. "Is this all he amounted to in the '80s...?" It felt so thin and obvious by comparison with the mystical masterpieces of the early '70s (and I was immersed in them just then, listening to the Sons of Sun record several times a day, etc). 

And okay, sure, Takashi's later work doesn't have much in common with Dusk or Suburban Train. But yesterday I found myself rereading those '83 translations (so far: My Heart Goes "Kyun" for You, It's Springtime Mon Amour, and Morocco) in the midst of a Fleetwood Mac bender. The Mac's lyrics tend to peak at serviceable — though some lines are touching or inspiring, and there are a few songs that, as a whole, hit hard (looking at you, Beautiful Child) and of course the words feel wonderful to sing. But all in all, they tend toward the plain. Fleetwood Mac were never about the lyrics.

Takashi lyrics, by comparison — even in 1983 — are surprising, full of detail, and clearly differentiated from each other. You'd never confuse the narrative voices in those three songs, or the circumstances of their respective stories. Even in 1983. And so, suddenly heartened, I revisited another '83 song, which I'd finished but hadn't posted. And it turns out that, yeah, this one is good too. 

The Kittens of the Apple Forest (Tsutsumi/Matsumoto) is the ending song of the anime adaptation of Alf Prøysen's Mrs. Pepperpot stories. As is typical of the era, the anime is better than its source material. 

The singer is Mari Iijima. The anime's OP/ED duo was her first single. Her debut album, Rosé, was produced and arranged by Ryuichi Sakamoto, but from that album onwards, the songwriting was her own.



:::



The kittens of the apple forest
invited me to a super fun party,
full of the clip-clop of the creatures
who tap-dance in wooden clogs
and the chorus of a band
of little birds up in the boughs.

I love you, dear Aunt Spoon!
Now come on, let's dance together.
I love you, dear Aunt Spoon!
Come on, let's go — it's Shape Up time.

Look here! 
Maybe we can't see happiness directly,
but we can join hands with it
and spin, spin, spin.

The duck in a silk hat dances
to the beat of the bear drummer's drum.
Everyone's smiles look like they'll
split right off their faces.
But what else would you expect?
It's Auntie's birthday!

I love you, dear Aunt Spoon!
Your bashful eyes are beautiful.
I love you, dear Aunt Spoon!
I want my life to be like yours.

Look here!
We're spinning,
spinning in a circle
at the tippity top of the world.

The kittens of the apple forest
invited me to a super fun party,
full of the clip-clop of the creatures
who tap-dance in wooden clogs
and the chorus of a band
of little birds up in the boughs.

The kittens of the apple forest
invited me to a super fun party,
full of the clip-clop of the creatures
who tap-dance in wooden clogs
and the chorus of a band
of little birds up in the boughs,
and the chorus of a band
of little birds up in the boughs.


December 10, 2024

Translation: Isn't It So Quiet Here? (Hiro Yanagida)

Isn't It So Quiet Here? (Yanagida/Matsumoto), my favorite song on the album (to start with, though I'm not so sure now; too many fantastic contenders), opens Side B. I looked it up early into my Takashi obsession because I figured a 1972 song with that title had to be awesome. It took a few listens to hear the soul in Hiro's untrained voice, but the melodies and the arrangement won me over at once (those backing vocals, ahhh!).

The first version of this translation, which was up from December 2024 to July 2025, was tone-deaf. I did a complete re-translation/re-write while lain up in hospital with a violent stomach infection. It was a really quiet room, come to think of it. But solitary. And with a lot missing. On the other hand, I did watch Episodes 1 to 10 of Shinichiro Watanabe & company's Lazarus for the first time there, so: across certain stretches of elusive time, the room was as full as I could wish.

That's not to imply the new version is perfect! This text of Takashi's is subtle, and recalcitrant! Like the ice it tells of, the poem refuses to leave its old form behind so easily. That word こうして in particular is doing a lot of (seemingly untranslatable! -- but only seemingly!) work. 

Hiro's setting and arrangement bring out these word's nuances wonderfully, though, so at least I have a guide. I need to listen more, live with the song longer, and revisit the work every now and then. It's the verses that are slippery. Unmelted. I'll get there -- I've just got to be patient...



:::



The gentle sound of melting ice 

reverberates around us.

The ice is in no hurry.

It doesn't seem

to have much to say

as it awaits its transformation.


Isn't it so quiet here,

with the two of us

just like this?

Straining my ears,

I think I can even hear 

the murmur of your heart.

Isn't it so quiet here?

Come, have a look through the window

and see

how slow the flow of time can be.

It doesn't feel like anything is missing, now,

and you're already getting sleepy.


Isn't it so quiet here,

with the two of us

just like this?

Straining my ears,

I think I can even hear 

the murmur of your heart.

Isn't it so quiet here?