Utakata / Kiryu

Kanji & Romaji: hiphopvomit
Translation: myself

Lyrics: Tokai Junji, Isshiki Hiyori
Music: Sakai Mitsuki




泡沫 [Utakata]
Transience / Bubbles



A hollow that becomes purity peeks into one's desires     Hazy, mysterious sleeve made of white silk

Flowers of unmeetable moonlight earthly desires bloom
Butterflies (1) entwine together in dance     Playing in ephemeral sea
Playful gloom repeats itself     After having come this far
Fluttering randomly     Waning moon     Sways in beautiful youthfulness

Eternal youth     When tasted, flowers open     A banquet that invites one to the paradise
Eternal evening     When initiated, ground cherries (2) are enlivened     Charming make-up     Smile of pleasure

Love that begins at midnight
Loses itself in the dance of snakeheads (3)
When one misunderstands the fragrance of salt water
In the middle of devilishness
Floating on the lure of treasure and beauty (4)
Dropping the idea of old age (5)
Joy and pleasure separated from this transient world are

In between of dream and reality

At the end of a woven fence, the morning dew of deadly impurities [awaits]     Transient dream is a kaleidoscope
A pale (6) illusion is a blue reminiscence     The song of bellflowers (7) resounds

Ah...

Chance meeting     It is the tempting Utopia
As many days and emptiness     Ends up being fleetingly scattered
A body     While spoiling, the mixture of souls is     The karma     That frolics around
Without any reason     Amorphous haze      Devilish love      Turned into bubbles     Despite having one's faith in it, it doesn't stop collapsing

Life, has been scattering since that day

At the end of woven fence, the morning dew of deadly impurities [awaits]     Transient dream is a kaleidoscope
A pale illusion is a blue reminiscence     The song of bellflowers resounds
Beloved flower     The autumn haze has come     Dream... Reality... Are illuminating like fish scales


Footnotes:

1. Butterflies are the symbol of the endless cycle of death and rebirth. Also a symbol of young women
2. 鬼灯 [hoozuki] - ground cherry is a species of flower that is related to the Japanese all saint's day - Obon. Seeds of these flowers are offered to the deceased as a signpost for their souls
3. See: discussion
4. 蛾眉 [gabi] is a term describing the beautiful and ideal woman
5. Lit. old woman (老婆 [rouba])
6. 蒼 [ao] can mean blue or youthfulness as well
7. Bellflower in Hanakotoba (language of flowers - Japanese way of deciphering flower symbolism) means I love the sad you; it is a symbol of faith as well

Discussion:

Okay, unmeetable is my own, made up word (my English tutor would kill me for that... Again).

In my previous talks, we've had already medicine, culture, linguistics and history lessons. Now it's time for some biology itself! Hence, let's unravel the mystery that lies behind the word snakehead mentioned in lyrics. It is a predatory fish, known for its rather unique amphibious abilities (not many fish are able to do so). Snakeheads breathe air with gills, thus they are able to leave water for extended period of time and walk short distances outside the water.

The title of this song is 泡沫 [utakata] which can mean transience or bubbles. When we dive into any reservoir, it is only natural that we produce bubbles. Bubbles are ephemeral as they pop when they reach the water surface. What is ephemeral as well? Human life. This is the ropes of Utakata. Basically, we have here some sophisticated symbolism of the afterlife, namely the sea/ocean whatsoever basin. Similarly, the land is the world of living. Do you still remember our new friends snakeheads? This is a simile to something that generally belongs to the afterlife, but is able to emerge for a short period of time on the world of living - the metaphor of ghosts.

This song with mono no aware (see: my Irodori translation for some highlights about this topic) vibes is therefore about an unfortunate (nihil novi, Kiryu) couple, where a girl dies prematurely. The guy is still fine and sound, however he still believes that his beloved one will return, but as a ghost. After all, she indeed shows herself to him. He even thinks about commiting suicide to become an eternal youth living the eternal evening along with his dear girlfriend, since ghosts appear only at night.

What a complex motif, I swear.

Sazanami / Kiryu

Kanji & Romaji: hiphopvomit
Translation: myself

Lyrics: Kurosaki Mahiro
Music: Sakai Mitsuki




漣 [Sazanami]
Ripples



Love that has been fading for a long time     What will you leave in the palm of my hand
While dozing off     Sweet lovers' talk is cooling off the warm booze

When the eeb tide carries you off, will you make your way through
As the lingering scent     Ah, if soaked into it, cruelty would ephemerally disappear

Money, women, romance... Amongst these all, filthy and messy   You
Even when being evasive     And fickle     Letting you come near will return

"Floating and sinking"

Love that has been fading for a long time     Will you disentangle these palms of our hands
Wavy hair, without gloss     Eventually you will sadly lose an interest in it

I wonder if this pair of small birds is surely happy
Looking up at the sky     Ah, mandarin duck (1) is wishing for the depths of romance that cannot fly away

Yearning for the long autumn rain     Although I knew, it wouldn't become reality
Rings on the water     Dizziness     While drawing an arc    Flapping (2) towards the blue sky

"Without breathing"

Wiping bitter tears     Ah, I wonder if only I could play with those fingers

Money, women, romance... Amongst these all, filthy and messy    You
Even when being evasive     And fickle     Letting you come near will return     Ripples

Yearning for the long autumn rain    Although I knew, it wouldn't become reality
Rings on the water     Dizziness     When drawing an arc     Flapping wings abreast towards the blue sky

"Holding our hands together towards the blue sky"


Footnotes:

1. Mandarin ducks are said to form lifelong couples, thus they became the symbol of eternal love in west Asian countries
2. Kanji given in lyrics say 藻掻く [mogaku] - to struggle, to writhe, but there is habataku (羽撃く) - to flap (wings) sung instead

Discussion:

I do not want to focus this much on the story of Sazanami, because it's relatively easy to decipher. Basically, the subject is a woman - a loving and caring wife who turns a blind eye to her husband being a cheater, more interested in any other woman, but his own wife. Yet this relationship turned out to be unfortunate anyway, since the husband passes away. The woman is unable to bear her tragic fate, therefore she commits a suicide in the name of her devoted love and she wishes to be toghether with her husband in the afterlife.

What I would like to talk about is the construction of original Japanese lyrics, because some of Kiryu songs (especially those written by Mahiro) are similar in terms of fashion. I find it somehow crucial to understand Kiryu's concept of wasei (Japanese-made) horror and why do people often fear to translate them. Mahiro as a lyricist is uber fond of breaking rules, both moral and grammar. On the other hand, Mitsuki is your everyday poet - his lyrics are nowhere near Japanese taught in textbooks. However this is not what makes Kiryu's songs (mostly) hard to translate. What makes them this way is Kobun (Bungo) or classical Japanese in English. This form of language derives from Heian period (794 - 1185/1192 AD) and was preserved later on (being the standard until around 1930) as a literary language. You may know that Japanese writing system consists of kana (katakana + hiragana) and shitton of kanji. What is characteristic for Kobun as well is a phenomenon called rekishiteki kanazukai - a historical kana usage (in a general use until the end of World War II though). It means additional, obsolete pieces of kana (ゐ & ヰ [wi], ゑ & ヱ [we]; sometimes still used in names in some regions) as well as major spelling differences in both words and grammar structures.

A lot of Kiryu's songs harbors at least a bit of Kobun in their structure and some texts even attempt to partly mimic rekishiteki kanazukai in their spelling. It may be confusing for those not familiar with Kobun at all, but familiar with everyday Japanese. In fact, very first Kiryu's songs are written in a very modern fashion (such as Another side or Yuukaku), however their later works do harbor Kobun, rekishiteki kanazukai, archaisms, rare/obsolete kanji or are at least written in a very literary way to indicate their traditional style. This is actually why those lyrics are not a piece of cake to most of people (including Japanese themselves).

I said before that the story of Sazanami was not that difficult. Well, the story itself is indeed easy, but its original lyrics in kanji are the perfect example of the aforementioned complexity, since they are almost entirely written in Kobun fashion and rekishiteki kanazukai.

Kyuubi / Kiryu [R]

Kanji & Romaji: hiphopvomit
Translation: myself

Lyrics & music: Sakai Mitsuki

Kakusei ni hayu ugomeki / Kiryu

Kanji & Romaji: hiphopvomit
Translation: myself

Lyrics: Kurosaki Mahiro
Music: Sakai Mitsuki





拡聲ニ蝕ユ蠢 [Kakusei ni hayu ugomeki]
Intensely ecliptic wriggle



The Emperor shall reign forever and ever (1)     Flickering revolving pain is deeply held unstoppable resentment 
For whose sake     For one's sake     Heavens are heavily rustling, making the earth tremble

In the [rotten] sea of stumbling and cowering [dead] bodies (2)
Holding up both hands over one's head, applause is going crazy
From every irregularly torn and warped mouth
Smeared in amber maggots are spreading around

(Spitting on the sun     three cheers)

Look upwards, in the every direction, [it is] dying in purple spots     Sound of blades (3)     Please, cut open
Cheering in chorus while bringing the purge     Salute and conquer through the order of death

"Turn the daybreak into ashes!"

The Emperor shall reign forever and ever     Extending one's [high-angle] view, remains of foolishly wriggling things
Now it is progressing     And progressing     Duty of punishment is coming to an end

Wavering of the twisting and distorting eclipse of the hatching flower
When the swelling of last month of pregnancy is going to [spiritually] awaken
It creaks in the climax of fascinating growing up
Blooming in the interior of a womb and tearing in order to be in the outside of a body

(Resonance of the myriads     The sphere (4) is going to break)

Look upwards, in the every direction, [it is] dying in purple spots     Sound of blades     Please, cut open
Cheering in chorus while bringing the purge     Salute and conquer through the order of death
Monochrome (5) purgatoty is like plentifully clamouring new moon
Be afraid of the weak stepping stones     Sound of blades     Please, cut open

"Hey, puppet-like loiterlings parasiting on sacrifices!
     By now, having the ennumeration of funeral processions, death and degeneration are coming!"


Footnotes:

1. A fragment of Japanese anthem Kimi ga yo (in my translation)
2. Written as rotten sea of (...) corpses but sung as sea of (...) bodies
3. Or sound of [insects'] wings
4. It can be alsto translated  as a person used as a part of a plot considering the context of the entire song
5. Wordplay: モノクロ [monokuro] - monochrome written as 喪之黒 [monokuro] – lit. mourning black

Discussion:

Banzai! Banzai! Banzai!

Nowadays, people associate shouting banzai (literally ten thousand years) with our well-known hooraay!, but historically it used to be shouted after some victorious battle. This outwardly optimistic exclamation derives from the Empire of Japan (I linked a profound wiki article here for your consideration) time period which was not that happy at all. A period of time, where the Emperor ruled ultimately also being the supreme Commander in Chief of Armed Imperial Forces.

Unfortunately for me, this song has a historic overtone after all. It's not like history is my weak point or so. NOT AT ALL. 
Salute and conquer through the order of death. One of the trademarks of Imperial Japanese troops were kamikaze (divine wind)- world's most known suicide air attacks used at the very end of World War II. First act of kamikaze was performed in America in 1944. Soldiers used aircraft especially designed for the suicide attack called Ouka (cherry blossom) in Japan, but Baka (fool) by Americans. In fact, divine wind was seen by Americans as a foolish act of desperation, but for Japanese, kamikaze was like a honorable death for the sake of the Empire and Emperor himself. That was a brief history torture lesson.

Kakusei ni hayu ugomeki is exactly about kamikaze. About people loyal to the Emperor, born to end up being scattered together with their planes in order to provide a victory. You know, Japan has been always called Land of the Rising Sun, hence the eclipse in the title means the end of the glory of the Empire. In fact, Imperial Japanese surrendered at the end of WWII and their suicide attacks turned out to be totally fruitless. Long story short - this song is about a literal attempt to trampling over people, I daresay.

Ayakashigatari / Kiryu

Kanji & Romaji: hiphopvomit
Translation: myself

Lyrics & music: Sakai Mitsuki

Important note: the `ME` in italics is `atashi` - a pronoun used by females, the regular `ME` is `watashi` - a pronoun used by both genders, and finally the `YOU`  is `anata` - a pronoun mostly used by females to refer to their beloved ones or just formal `you`





妖語 [Ayakashigatari] (Link to a Nico Nico vid; one's obliged to log in there)
The talk of an Ayakashi (1)



Even if I looked back, it wouldn't change the fact that everything was an utmost stupidity
If I savored the nonsense of trusting heart, IT would be eternally lacking its flavor
I was able to observe the smoothly going sail... Not knowing how is it to be smeared in mud
Floating on the warmth of happiness... Not knowing how is it to be sunk in the cooling stagnation

To fool or to be fooled... One of these two reflects the true nature of this transient world

It hurts... It hurts...
A shriek mixed with a creak of bones is being drowned by the prison of flames
Notice... Notice...
The "ME" is right here... What dissolves in tears is the story told by an Ayakashi

Screaming "YOU" who looks at lamenting "ME"
Did "YOU" know who used to wear THAT crooked smiling mask
While going forward with the two [of us]... The one who unraveled my true colors
Was "YOU" who believed that there was no "ME" or "ME"

To fool or to be fooled... One of these two is the reality
"THIS and THAT, everything is a misunderstanding" I realized, it was mincing me from the inside

So dark... So dark...
Overflowing scarlet has taken away... The light and the shade... Everything...
Help me... help me...
Absent-minded "YOU"     Licking lips was the last scenery you showed me

It hurts... It hurts...
A shriek mixed with a creak of bones is being drowned by the prison of flames
Notice... Notice...
The "ME" is right here... What dissolves in tears is the story told by an Ayakashi

Even if I looked back, it wouldn't change the fact that everything was an utmost stupidity
If I savored the nonsense of trusting heart, IT would be eternally lacking flavor
You were a fool, therefore you has been fooled, but it was just an unnoticed pipe dream
Thank you for the meal, not even bones were left    To end without a flavor



Footnotes:

1. Ayakashi = Japanese folklore demon

Discussion:

<off-top> The truth is that I started translating songs around two years ago, when I was still even more basic in Japanese than I am now and I used to be blind to minor details. Formerly, I translated to my native language, which was probably not so witty of me. (In fact, English is much more accurate in terms of translating from Japanese, and lyrics make much more sense.) Or maybe witty? Who knows. Anyways, I ended up with a shitton of lyrics to retranslate and Ayakashi gatari was one of them. (Maybe it's a great opportunity to correct translations of my stupid and ignorant self). </off-top>

Today I will not be talking about cultural aspects, but about the story itself. I mentioned before the two me used in these lyrics. Keep that in mind. 

You probably noticed who is speaking here - a female, man-eating Ayakashi. Well, our supernatural heroine happens to be a kind of a tragic character, namely she deceived (in her human form) a human-being, who provided her a wonderful relationship, and at the end... She hesitated whether to eat her prey or not. Nevertheless, the guy noticed that something was wrong with his girlfriend and uncovered her true face. Instead of clarifying the situation, our heroine decided to finally devour her victim. Buut... Does she regret her actions as an aftermath? Probably yes. Also, what is IT? It's her life as an Ayakashi.

Do you still remember those two me of our heroine? Watashi is a formal, gender-neutral, first-person pronoun and since it can be used by everybody, Mitsuki apparently decided to use this pronoun as well to indicate the human disguise of our heroine. On the contrary, we have atashi which is exclusively used by women. Here goes the true Ayakashi form. Is it clear? I hope so.

I wonder if it is a metaphor to ourselves. After all, everybody has their true and fabricated nature when it comes to interaction with other people. At least at some point. Am I right?

Daruma / Kiryu [R]

Kanji & Romaji: hiphopvomit
Translation: myself

Lyrics: Kurosaki Mahiro
Music: Kujou Takemasa

Note: a long discussion strikes baaack.

Irodori / Kiryu

Kanji & Romaji: hiphopvomit
Translation: myself

Lyrics: Sakai Mitsuki
Music: Kujou Takemasa

彩 [Irodori]

Coloration

Flowers blooming on the dead tree     Are coloring the charming 15^th night (1)

Dancing in the blowing wind     Trivial things that [make one] forget about reality

A little child is humming

"Let's play"

Under the big Torii gate     Waiting in vain

Even while clapping hands, it reverberates (2) in the emptiness

Even while shouting [one's] name, it gently calms down

Playing [games] follows the evening

When the sound of insects is calling out

Flowers blooming on the dead tree     Are coloring the charming 15^th night

Dancing in the blowing wind     Forgetting about reality

If this dream is about to end     It will leave one all alone (3)

It disappeared being white-hot     Towards the eastern (4) sky

A person that laughs behind one's back

The little child always plays hide and seek with a person with no face

"Let's play"

One

Two

Three

Four

Still not found

The eastern sky is being red-hotly inflamed

When one's tired of chasing after the red dragonfly... (5)

"Is it yet?" (6)

Flowers blooming on the dead tree     Are coloring the charming 15^th night

Dancing in the blowing wind     Forgetting about reality

If this dream is about to end     It will leave one all alone

It disappeared being white-hot     Waving hand towards the eastern sky

Trivial things that fly off

Footnotes:

1. Juugoya is also known as full moon or harvest moon. It was the subject of moon viewing (Otsukimi) in the past due to its unique beauty.
2. Lit. tree spirit - Kodama. Those tree spirits were often associated with echo
3. Wordplay: 独法師 [hitoribocchi] written as 独楽師 [komashi] - master of spinning the top]. In Edo Japan the art of spinning the top was a relatively popular hobby.
4. East is linked here with the daybreak – the moment when one wakes up from their dream
5. Dragonfly is a symbol of power and victory in Japan
6. It derives from Japanese version of hide and seek (kakurenbo). The one who "seeks" counts and asks is it yet? (mou ii kai?) while people who "hide" themselves reply with not yet (maada da yo) when not ready or It is yet (mou ii yo) when ready.

Discussion:

To be frank... I have no clue what to think about this song. Lyrics themselves were relatively easy to translate. The problem is that, I was unable to find any concrete interpretation while translating.

My suspicion is that this song is clad in Japanese buddhist philosophy of mono no aware (lit. the pathos of things). Briefly said, it is a concept meaning the awareness and acceptance of impermanence. The realization that every creature grows up, appears at its finest while being a full-fledged adult, then gets old and eventually passes away. The same goes for nature, beauty, dreams etc. This motif is, in fact, deeply rooted in classical Japanese literature and culture. 

(Have you ever wondered why Japanese are so fond of observing nature [inter alia blooming cherry blossom]? Because of mono no aware) 

One of the most famous Japanese poems - Iroha is a perfect example of this phenomenon:

"Although its scent still lingers on

the form of a flower has scattered away

For whom will the glory

of this world remain unchanged?

Arriving today at the yonder side

of the deep mountains of evanescent existence

We shall never allow ourselves to drift away

intoxicated, in the world of shallow dreams" 

(translation: Prof. Ryuichi Abe)

I think this poem has something to do with Irodori as well. Irodori means coloration while iro in iroha literally means color, and trivial things might be possibly the reference to shallow dreams. 

Coincidence? I think not.

Also, the mono no aware motif. In this song, we have a ghost (not sure about this) of a child who night by night seeks for a company to play their wordly games. However no one will answer anymore, because an average human being possesses no ability to see otherwordly phenomena. The transcience of human life, emotions, dreams and wordly desires entrapped in infantile apparition.

Makes sense, but still... I am not sure about that.

Rengoku / Kiryu

Kanji & Romaji: hiphopvomit
Translation: myself

Lyrics: Sakai Mitsuki
Music: Kujou Takemasa





煉獄 [Rengoku]
Purgatory

"I am a puppet* being in great demand"

...Prey of the afterlife (1)... 

"Human body that cannot move is full of grudges"

Now, the long awaited evening of exposition* begins

Licking one's lips in the love of discharging lies...

Smeared in carnal desires

Gleamingly illuminating despair

When one's stabbed, flowers bloom

The red going crazy in agony while scorching this body     If I closed my eyelids, sea of purgatory [could be seen]

Burnt to black scream is crawling and revolving from the inflamed throat     Pouring rain of scorn

Ah...

I have been burnt out in pain     Painted in distorted colors of rainbow

If the ferry to prison is more likely to become the muddy boat, I'd take the one way road...

To die by drowning in vomit and excreta

Disgorge...

Disgorge...

Disgorge...

Disgorge...

Help me... 

Voice that cannot reach [you]

Teasing and playing with     If worn out then put into a scrap cage

Day after day, keeping until death

Tonight, I'll keep screaming as well

Plucked off flower of life

Gleamingly illuminating despair

When one's stabbed, flowers bloom

The red going crazy in agony while scorching this body     If I closed my eyelids, sea of purgatory [could be seen]

Burnt to black scream is crawling and revolving from the inflamed throat     Pouring rain of scorn

The red going crazy in agony while scorching this body     If I closed my heart, sea of purgatory [could be felt]

Burnt to black scream becomes completely wet, yet dries out while desperately trying to breathe     Rain of dried scorn

The red going crazy in agony while disguising in this body     The sea of purgatory engulfs everything

I'm bidding the farewell to myself while uniting the palms of hands     The tiny hope set in fire*, once held in my hands, smoulders ... My dream...

I cannot receive anything anymore...

I cannot give anything anymore...

That ray of purgatory won't guide me....

After all... I'm just a puppet* so I was wrong I could wish for a human life...

Maybe if my wish had become true, I thought I wanted to say only "good bye"...

But for whom...?

Footnotes:

1. Wordplay: 後生 [goshou] written as 御床 meaning literally honorable sickbed

Words marked with [*] are prefixed by character 御 / お ("honorable" in rough meaning) in original Japanese text. It usually indicates humble language or/and things/people that belong to another person (but not to the speaker)

Discussion:

"Human body that cannot move is full of grudges".

In fact, Japanese people treat the zombie apocalypse more like a grotesque comedy, this sentence is much more deeper than you might think (nope, it's not about zombie). If you aren't familiar with any form of Buddhism at all, let me explain one thing about death in Japan - Japanese buddhist practicioners believe in the endless cycle of death and rebirth and thus, they perform a cremation which is considered a purification rite, so the soul of the deceased can peacefully take their way towards transmigration and start a brand new life. As Buddha himself was cremated and his soul transmigrated. If a cadaver was not buried properly (due to murder, war, death in unknown place, suicide etc.), its soul would wander. Such dead bodies, still holding grudges could transform their malevolent energy into supernatural forces that haunt the world of living.

Again, I noticed here a narration from the afterlife, but in a different context - someone (possibly a girl? Mitsuki used a gender-neutral pronoun - watashi - "I") who unexpectedly and prematurely passes away, but still harbors the strong will to live. They do not want to be purified and do not mind ending up as a wandering, vengeful soul as long as they are able to meet again with their cherished ones. Nonetheless, their body has been cremated in order to purify the soul, hence the title Purgatory.

Also, funny thing to notice that Mitsuki used a word 人形 [ningyou] – puppet, doll where it can be also very literally translated as human-shaped thus it can be a metaphor of a soul/spirit.

Hinamatsuri / Kiryu [R]

Kanji & Romaji: hiphopvomit
Translation: myself

Lyrics: Kurosaki Mahiro
Music: Kujou Takemasa

Note: Be prepared for a long-ass discussion, necessary to the overall understanding. I highly recommend reading the discussion before footnotes.

Yubikiri / Kiryu

Kanji & Romaji: hiphopvomit
Translation: myself

Lyrics: Sakai Mitsuki, Isshiki hiyori
Music: Sakai Mitsuki





ユビキリ [Yubikiri]
Pinky promise / Cutting one's finger off
(see: footnote 4.)

A pledge vowed by little fingers     Pain as well as joy     Even now... I want it to be as it used to be that day

Tying up paper strings in tiny bundles      an evening of making yarn from the red string (1) Someday...it will reach your finger, won't it?

I let myself follow you purposely     Footprints of an incense surrounding me      [Coming] to you who turns a blind eye to it

Immorality    Sin     Lingering affection     These all are obscenely (2) dripping aphrodisiacs     For you who ignores them

My shadow     Your shadow      Two separated sides of the moon

Drowsily     You falling asleep and me becoming wide awake

My Dear (3) dreamer,

Please, sleep     Let us (our fates) entwine togheter      We made a pinky promise after all

To "past", "future", "present" you...      Please, invite my evening

Through the pouring rain of thousand tears       Let's pass the red string through the needle's eye

It hurts... It hurts... It hurts... Pinky...

Take a look take a look

"I cut my finger off" (4)

Today as well, I will embrace the void     waiting here for you

I'm waiting alone for the moment where there will be just the two of us, while counting stains on the ceiling

My Dear lover,

Children lost in their dream     Led by the red string entangling these two

Drip drip... Dripping non-drying love

Please, share [with me] my destiny

My Dear person of my last moment,

Please, sleep     Let us (our fates) entwine togheter     We made a pinky promise after all

To the "past", "future", "present" you...      Please, share [with me] my evening

Footnotes:

1. Red string of fate. There is a Japanese belief that every person has their destined one linked with them by an invisible red string attached to little fingers of both people. The string cannot be torn and will lead one to another regardless of their whereabouts.
2. Wordplay: 淫靡 [inbi – obscenity, impurity] is written here as 淫美 where the first kanji stands for obscenity and the latter for beauty.
3. Wordplay: 背景 [haikei – scenery] is a homophone of 拝啓 [haikei – Dear...]
4. 指切り/ユビキリ [yubikiri – pinky promise] can be literally translated to cutting one's finger off`, hence  ユビキッタ [yubi kitta] - we made a promise can be also translated to I cut my finger off; it may be a symbol of losing the red string linkage as well as a symbol of disability to keep the promise; also worth to mention that yubikiri involves a punishment: if you don't keep the promise, you'll be obliged to swallow 1000 needles

Discussion:

My, my... Quite an unusual song at some point. 

A~ny~ways~! Have you noticed the first person narration? In my opinion, it is quite otherworldly, meaning that this song is written from a lonely ghost's perspective. A girl's point of view, that is, who couldn't keep her promise, where (probably) she and her lover would live togheter forever and ever. However, the fate turned out to be unfortunate and our heroine died prematurely, therefore she now wishes her partner died as well, so they can be togheter again. Sad, but quite interesting at the same time. 

I must say that Kiryu's lyricists (both Mahiro and Mitsuki) are fond of hiding dead bodies inside their lyrics.

Yotaka / Kiryu [R]

Kanji & Romaji: hiphopvomit
Translation: myself

Lyrics: Kurosaki Mahiro
Music: Sakai Mitsuki