To date, they have released 10 albums, 2 singles, 3 live albums, and 2 best of albums. They have also participated in numerous compilation albums.
Spangle call Lilli line's beginnings trace back to Otsubo and Fujieda, friends from art school, who began playing together in December of 1998. Sasahara and drummer Kabasawa, also friends from university, joined in 1999 and 2000, respectively. The band was christened "Spangle call" (the "Lilli Line" to come later), derived from a Japanese pronunciation of "spangle" ("supankooru," chosen for its sound), while the "call" was a continuation from the "kooru" of "supankooru."
Tokyo's Shimokitazawa district has continually been one of the hot spots for indie rock action, and over the past several years, numerous groups sporting a laid-back style have come to the forefront of the scene. Amongst these musicians (loosely grouped under downtempo), Spangle call Lilli line has arisen as one of the flagship bands.
In keeping with Spangle call's standard rock instrumentation, their style reaches well beyond downtempo, a relaxed and heavily electronic genre. While the band is often described as post-rock, their sound is more of a compromise between the two. Songs are not bound by verse-chorus convention, but drift lazily, guided by a light melody. The guitars and varied percussion together with numerous (and frequently spacey) electronic additions weave a sound that, while complex, flows very evenly. Otsubo Kana's wispy vocals contribute an organic piece to the melody as well, while adding to the relaxed atmosphere.
Their self-titled debut was issued in March of 2001 on P-Vine, a label known for electronic and jazz units including Date Course Pentagon Royal Garden and Otomo Yoshihide.
The band continued their trademark style through their third album, 2003's or, in which they aimed to consummate their established sound. The trying studio work leading up to or proved to be the band's breaking point, causing mental breakdowns in Otsubo and the February 2003 departure of their drummer, who had provided much of the creative direction for the album. With Kabasawa gone from the lineup, Spangle call was free to indulge in influences such as R&B, soul, and Motown that their drummer, who had an affinity for lo-fi and post-rock, did not favor.
These changes surfaced in Spangle call's April 2005 album Trace, which was nearly two years in the making (excluding their live release 68SCLL). With Trace, the members recount that they were looking to remove the excess from their music and sound like a new band, as if the album was their debut. The new release was indeed different from its predecessors, with a poppier, R&B style and tracks that were, on the whole, shorter than the usual Spangle call fare.
Shortly after Trace, the release of For Installation, more in tune with the band's classic style, ensued in June. The tracks are mostly comprised of studio outtakes, but according to Fujieda, "the feeling of the album will be clearly different" from that of Trace. Though nothing has been formally announced, the enterprising trio is gearing up for another release in the future.
Formed in Shimokitazawa District, Tokyo, Japan
From 1998-present
Out Of Sight
Spangle call Lilli line Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
くだらない記憶 言い換えてる 脳は自由になる
無理が砂に埋もれるまま 強度に いい加減
さらに問う ブルーな振る舞い方 逃げるのは簡単
徘徊する夜はぐらつく 誤りの競争
理解は何気なく どうとでも サイズ 行ける所まで
清廉の川は淀まない 聞こえる スタートを決めて
間近に静かに 止まらない光沢の靴は 追いかける
夢からのリズム どう返す 顕れようと持ちかける
水滴の見やる方向に ありありと消える感覚は
想像の居留守 戻らない いつかは スタートを決めて
飛び込む空に 紺碧 続いてく無意識
ありったけの 背伸びと 鼓動は祈る
迂回せずに走る 寄り添う花 あれはあれできっと楽しくて
夕闇や月が寄り合って たまにエンドロール流して
何よりも得れた古 在処をハイク とりあえず全部
マニュアルで行ける いつまでも 夏のように 噂は
徘徊する夜はぐらつく 誤りの競争
理解は何気なく どうとでも サイズ 行ける所まで
涙は跡形もなくて通過する 再現の理屈 構わずに
清廉の川は淀まない 聞こえる スタートを決めて
The song "Out Of Sight" by Spangle call Lilli line begins by asking if it is okay to be stolen away, giving as a reason that the trivial memories rephrased by the brain can become free. The singer reflects on how their stubbornness is buried in the sand and that it is easy to escape by adopting a blue behavior that respects face value, but they ask themselves further questions. The night is wandering and shaking, competing with mistakes. Understanding can be taken anywhere, like the size of the place. Tears pass without a trace, regardless of the logic of the reproduction. The clear river does not stagnate, determined to start hearing it.
The singer then comments on the sparkling shoes that do not stop quietly and the rhythm that comes from a dream, which they do not know how to return to. The sensation disappears clearly towards the water droplets that they look at, and they cannot go back to the imagination's lies. The unconsciousness that continues in the azure sky jumps in, and the pulse prays with all its might, having stretched as much as possible. They run without detour, and the approaching flower is happy in its own way. Gathering in the evening or the moon, occasionally, they carry the end's roll. More importantly, they hike the place where they found the old, taking everything for the time being. Go manually forever, like the summer, the rumor insists.
Overall, the lyrics of "Out Of Sight" convey a sense of searching, questioning, and introspection. The use of imagery and abstract concepts creates a dream-like atmosphere that complements the atmospheric music. The song can be interpreted in many ways, but it seems to be about a person trying to find their own path and identity while dealing with the mistakes and misunderstandings that come along the way.
Line by Line Meaning
かっ攫っていい? 届かぬ裏 そんな理由を
Is it okay to steal? The unreachable reasons behind it, rephrasing the pointless memories. The brain becomes free.
無理が砂に埋もれるまま 強度に いい加減
As the impossibilities bury under the sand, it becomes careless about the intensity.
さらに問う ブルーな振る舞い方 逃げるのは簡単
Continuing to ask, the blue behavior pattern. Escaping is easy.
徘徊する夜はぐらつく 誤りの競争
The wandering night trembles, competing with mistakes.
理解は何気なく どうとでも サイズ 行ける所まで
Comprehension is casual, and it can go anywhere, regardless of the size.
涙は跡形もなくて通過する 再現の理屈 構わずに
Tears pass without a trace, regardless of the logic of reproduction.
清廉の川は淀まない 聞こえる スタートを決めて
The river of innocence does not stagnate. I can hear it, deciding to start.
間近に静かに 止まらない光沢の靴は 追いかける
The shiny shoes nearby quietly relentlessly chase us.
夢からのリズム どう返す 顕れようと持ちかける
How to respond to the rhythm from the dream? It invites us to manifest.
水滴の見やる方向に ありありと消える感覚は
The sensation of disappearing vividly towards the direction of the water droplets that we gaze at.
想像の居留守 戻らない いつかは スタートを決めて
The imaginary stay does not return, deciding to start someday.
飛び込む空に 紺碧 続いてく無意識
In the deep blue sky we jump into, the unconsciousness continues.
ありったけの 背伸びと 鼓動は祈る
I stretch as much as possible, praying for my heartbeat.
迂回せずに走る 寄り添う花 あれはあれできっと楽しくて
Running without detours, the accompanying flower, it is surely enjoyable in its own way.
夕闇や月が寄り合って たまにエンドロール流して
The twilight and the moon gather, and sometimes they play the end credits.
何よりも得れた古 在処をハイク とりあえず全部
More than anything, the places we gained, let's hike them all for now.
マニュアルで行ける いつまでも 夏のように 噂は
Like summer, the rumor that we can go manually forever.
Contributed by Dylan L. Suggest a correction in the comments below.