The band has developed a unique mix of elements using their fragile but dynamic vocal styles combined with thrilling, unpredictable and addictive song transitions as they explore dreamy post-rock-esque melodies and the complex rhythms similar to math rock.
In 2012 and 2013, due to the well recieved singles, EPs and mini-album releases, they performed at several major festivals across Japan such as ARABAKI ROCK FEST, FUJI ROCK FESTIVAL, ROCK IN JAPAN, RISING SUN ROCK FESTIVAL, MONSTER BASH, WILD BUNCH FEST, SWEET LOVE SHOWER and more.
Not long after this was the arrival of tricot's debut full-length album "T H E" which followed another long and successful support tour, leading into the 2014 year with appearances around 5 countries during the “What’s Ochansensu-Su!? tricot Asia Tour”.
That same year the band appeared at four large festivals in Europe and show no signs of slowing down their rapidly expanding career.
The band's name is sometimes stylized as: トリコ (toriko)
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2. tricot is an instrumenta emo post-rock band from Porto Alegre, Brazil; Berlin, Germany; and Erechim, Brazil, formed in 2006 by members and ex-members of My Soundtracked Life, Campbell Trio and Emer with the only consistent members being Diego Poloni and Rafael Poloni, both on guitars. The band has an irregular activity due to its members living in different countries and not always being able to be together, which makes the band an almost exclusively studio project.
They had a recording session in 2006 which is currently "lost" due to a malfunctioning hard drive (meaning it exists but is currently inaccessible).
They entered the studio again in mid 2008, but the recordings were never finished, with two of the songs recorded being released in 2010.
They again entered the studio in December of 2013 and January of 2014, but again, never finished the recordings. However, the band will release the five songs from this 2013/2014 sessions in 2023 and is intending to record a full length album in the near future (and release it this time).
The band got its name from the last track on My Soundtracked Life's 2006 album colours, senses and noises: a suite in 12 movements, which is called "tricot".
爆裂パニエさん
tricot Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
深海で終わらせようとしてんだ
嫌い白い肌の生ぬるさ
痛いくらいが僕にはちょうどいいと
以来それは君だけの感覚違う違う
もっと仕様がないと言いたい
「生きるように生きるさ」
ちょっとしたオフホワイトの箱に感情移入してみた
うそをついているのは僕なのかはたまたただの野次馬の君か
創造の管理も上手に行えていないくせに
僕は人をだませるほど頭がよくはないだろうし本当のことをすべて話すほど
馬鹿じゃない
それをうそと真実のラインを消すためだけにただ踊り続けているだけの
馬鹿やろうだと君は言った
嫌い白い肌の生ぬるさ
痛いくらいが僕にはちょうどいいと
以来それは君だけの感覚
違う違うもっと仕様がないと言いたいだけ
The lyrics to Tricot's "爆裂パニエさん" (Bakuretsu Panie-san) evoke a sense of drowning in emotions that have been overwhelmed by the everyday mundanity of life. The opening line, "プランクトンにおかされた感情おぼれて消えた" (Plankton ni okasareta kanjou oborete kieta), translates to "My emotions were drowned and disappeared under the influence of plankton." The imagery is one of helplessness and despair as the singer tries to escape the depths of their emotions but ultimately fails.
The second verse is a reflection on the singer's relationship with someone they love but cannot fully understand. The line, "以来それは君だけの感覚違う違う" (Irai sore wa kimi dake no kankaku chigau chigau), means "Since then, it's been your unique perception, different from mine." The singer expresses frustration that they cannot fully grasp the other person's perspective and a desire for more clarity.
Line by Line Meaning
プランクトンにおかされた感情おぼれて消えた
My emotions drowned and disappeared while lost in the swarm of insignificant creatures.
深海で終わらせようとしてんだ
I'm trying to end it all in the deep sea.
嫌い白い肌の生ぬるさ
I despise the lukewarmness of white skin.
痛いくらいが僕にはちょうどいいと
Pain is just right for me.
以来それは君だけの感覚違う違う
Since then, it's been your unique and different sensation.
もっと仕様がないと言いたい
I just want to say that there's no more room for specifications.
「生きるように生きるさ」
"Live like you're alive."
すべてを披露できぬまま僕が僕を終えるのは思ったよりも悲しいと
It's sadder than I thought to end myself without being able to reveal everything.
ちょっとしたオフホワイトの箱に感情移入してみた
I tried to empathize with a slightly off-white box of emotions.
うそをついているのは僕なのかはたまたただの野次馬の君か
Am I the one lying, or are you just a mere spectator?
創造の管理も上手に行えていないくせに
Despite being unable to manage creativity properly,
僕は人をだませるほど頭がよくはないだろうし本当のことをすべて話すほど
I'm not smart enough to fool people, nor am I able to reveal everything.
馬鹿じゃない
I'm not an idiot.
それをうそと真実のラインを消すためだけにただ踊り続けているだけの
I'm just dancing to erase the line between truth and lies.
馬鹿やろうだと君は言った
You called me a fool.
嫌い白い肌の生ぬるさ
I despise the lukewarmness of white skin.
痛いくらいが僕にはちょうどいいと
Pain is just right for me.
以来それは君だけの感覚
Since then, it's been your unique and different sensation.
違う違うもっと仕様がないと言いたいだけ
I just want to say that there's no more room for specifications, and it's different, different.
Contributed by Eli P. Suggest a correction in the comments below.
@neilonaniet
(I edited this comment on 23/09/21, mostly to clean up the counting of the "slow section", and also to mention the use of Hirohiro's bass runs as the basis for the counting of the "talking section")
In case anyone's interested (and to give you some idea of how complex this song is), here are the time signatures, broken down per section (as heard by MY ears - others may break the beats up slightly differently, but the below works if you count it all out through the whole song in one go):
Intro (00:10): Twenty bars of 6/4 (the easy bit!)
Verse (00:51): (6/4, 4/4, 4/4, 6/4, 5/4) repeated four times
Bridge (01:25): Eight bars of 3/4
Chorus (01:34): (6/4, 4/4, 4/4) repeated three times, then two bars of 6/4
Slow bit (01:52): This section initially seems hard to follow, given that the placement of the vocals put you off the counting. But it's actually quite simple - it's just bars of 3/4 and 2/4, giving the whole section a waltzy feel. It begins:
6/4 6/4 (Motifour playing on her own), then:
3/4, 3/4, 3/4, 3/4
3/4, 3/4, 3/4, 3/4
3/4, 3/4, 3/4, 2/4
3/4, 3/4, 3/4, 2/4
3/4, 3/4, 3/4, 2/4
3/4, 3/4, 3/4 (at which point the original feel of the song returns)
(aside - from a purely musical point of view, I would avoid counting this section as bars of 6/4 with 5/4s thrown in, as it doesn't fit the waltzy feel I mentioned above. 3/4 is much more suitable)
Once the waltzing ends, we move onto four bars of 6/4, followed by one bar of 4/4, leading you into ...
The talking bit (02:30) - the hardest bit to work out, given the almost random nature of the changes and the fact that Motifour and Hirohiro's phrases don't often fall at the ends of a lot of the measures (for example, Hirohiro's first bass part pauses on the second beat of the second bar of 6/4 in the first bracketed section - the one with an asterisk next to it). Having said that, my counting of this section is influenced mainly by Hirohiro's bass phrases. You'll notice that the last beat of each 5/4 bar in the list below largely coincides with the end of a bass run.
There are 100 beats in total in this section, split up as follows:
(6/4, 4/4, 4/4, 6/4*, 5/4)
(6/4, 4/4, 4/4, 6/4, 5/4)
(6/4, 5/4, 6/4, 5/4)
(6/4, 5/4)
(6/4, 7/4, 4/4) - the 4/4 is the lead into the second chorus, and the 7/4 has four silent beats in it (filled only by Ikkyu saying "kimi wa itta")
Chorus (03:05): (6/4, 4/4, 4/4) x4 - note the difference from the first time through
Ending (03:25) - (6/4, 4/4, 4/4) x4 again
Finally, back into the intro which is all in 6/4 to the end.
And yes, I had to listen to the song maybe 20 or 30 times to get all that sorted out! Good luck counting along with them :-)
@aoaoaoaoaoao128
GITADORA収録おめでとう！
@BedrockSolid
発表を聞いていなかったんですけど、調べて喜びでワクワクしました！プレイしたい！
@_-2504
なんてこった!これは素晴らしい,なぜ私はたった10年後にこれを見たのですか?私はロシア人で、そのようなグループは聞いたことがありませんが、素晴らしいです❣️
@neilonaniet
(I edited this comment on 23/09/21, mostly to clean up the counting of the "slow section", and also to mention the use of Hirohiro's bass runs as the basis for the counting of the "talking section")
In case anyone's interested (and to give you some idea of how complex this song is), here are the time signatures, broken down per section (as heard by MY ears - others may break the beats up slightly differently, but the below works if you count it all out through the whole song in one go):
Intro (00:10): Twenty bars of 6/4 (the easy bit!)
Verse (00:51): (6/4, 4/4, 4/4, 6/4, 5/4) repeated four times
Bridge (01:25): Eight bars of 3/4
Chorus (01:34): (6/4, 4/4, 4/4) repeated three times, then two bars of 6/4
Slow bit (01:52): This section initially seems hard to follow, given that the placement of the vocals put you off the counting. But it's actually quite simple - it's just bars of 3/4 and 2/4, giving the whole section a waltzy feel. It begins:
6/4 6/4 (Motifour playing on her own), then:
3/4, 3/4, 3/4, 3/4
3/4, 3/4, 3/4, 3/4
3/4, 3/4, 3/4, 2/4
3/4, 3/4, 3/4, 2/4
3/4, 3/4, 3/4, 2/4
3/4, 3/4, 3/4 (at which point the original feel of the song returns)
(aside - from a purely musical point of view, I would avoid counting this section as bars of 6/4 with 5/4s thrown in, as it doesn't fit the waltzy feel I mentioned above. 3/4 is much more suitable)
Once the waltzing ends, we move onto four bars of 6/4, followed by one bar of 4/4, leading you into ...
The talking bit (02:30) - the hardest bit to work out, given the almost random nature of the changes and the fact that Motifour and Hirohiro's phrases don't often fall at the ends of a lot of the measures (for example, Hirohiro's first bass part pauses on the second beat of the second bar of 6/4 in the first bracketed section - the one with an asterisk next to it). Having said that, my counting of this section is influenced mainly by Hirohiro's bass phrases. You'll notice that the last beat of each 5/4 bar in the list below largely coincides with the end of a bass run.
There are 100 beats in total in this section, split up as follows:
(6/4, 4/4, 4/4, 6/4*, 5/4)
(6/4, 4/4, 4/4, 6/4, 5/4)
(6/4, 5/4, 6/4, 5/4)
(6/4, 5/4)
(6/4, 7/4, 4/4) - the 4/4 is the lead into the second chorus, and the 7/4 has four silent beats in it (filled only by Ikkyu saying "kimi wa itta")
Chorus (03:05): (6/4, 4/4, 4/4) x4 - note the difference from the first time through
Ending (03:25) - (6/4, 4/4, 4/4) x4 again
Finally, back into the intro which is all in 6/4 to the end.
And yes, I had to listen to the song maybe 20 or 30 times to get all that sorted out! Good luck counting along with them :-)
@OokiiPeter
Thanks for all the info! It's always amazing to me how complex math rock songs can be. If they're done well, they turn out super well. You'd never think such competitive beats could work so well together!
@patrickfitzgerald2861
@Neil - Well done dude. I'll take your word for it that the above is accurate.
@neilonaniet
@@patrickfitzgerald2861 Don't take my word for it - count along :-)
@TheSonic497
Doesn't seem that hard, maybe following the drum flow will throw someone's beat off, but the bass seems consistent.
@JohnDoe-ky6wz
@@TheSonic497 exactly. Complex doesn't mean it's hard to play.
@kiki4175
自分の知らないバンドってこんなにも沢山あるんだな。。。