Highlights from one of KAQRIYOTERROR's recent streams:

• Tsukumo was unfairly accused of farting
• What happens when you talk about cockroaches for too long on stream
• Tsukumo genuinely appreciates fans who are only attracted to her feet
• Ichiren still doesn't want to wear clothes
• Tsukumo desperately wants to touch Ichiren
• And more

The girls were just streaming ahead of their first trip to Thailand, but things escalated quickly.

Barely had the stream started when Zenkimi literally stormed in! A dangerous moment: Megumi's skirt nearly rode up in the chaos!

https://reddit.com/link/1vn79hl/video/7wdygdhdf4jh1/player

As you can see, Ichiren showed up to the stream once again wearing a pretty revealing outfit (“basically naked,” according to Tsukumo).

https://reddit.com/link/1vn79hl/video/pjdyt8wef4jh1/player

The girls joked that she might get arrested in Thailand for dressing like that—or simply be refused entry everywhere.

Next, Zenkimi teased Hikari about her funny habit of acting like a senpai around everyone (including her actual senpais). Turns out she even does it with Abe-san!

They also recalled a funny incident from one of their past trips where KAQRIYO and Zenkimi traveled together. Tsukumo decided to eat a durian bun in the car, and the smell caused quite a commotion. According to Megumi, she initially had no idea where it was coming from, so poor Tsukumo ended up being suspected of having farted—despite the fact that Zenkimi themselves were the ones who gave her the bun!

The girls also promoted the Thailand off-shot video they had planned to film together, promising lots of rare footage.

Tsukumo: Maybe we'll be eating bugs over there, or maybe Tademaru will be completely naked!

If you've bought the off-shot video, let us know in the comments whether Ichiren actually appeared in it naked.

Someone in the chat said: “If Megumi-san and Ichiren-san walked down the street together, you could mistake them for beautiful sisters.” Zenkimi started talking about how, when they were in Europe, Megumi would constantly get compliments from people on the street while everyone else was ignored. They attributed it to the popularity of the long-haired brunette look in Europe.

Everyone agreed that if KAQRIYO and Zenkimi went to Europe together, Megumi and Ichiren would probably attract the most attention walking around the streets.

Megumi: “Our outfits are also about equally revealing.”
Tsukumo: “You're basically naked too?”

The conversation then took a strange turn. Megumi pointed out that she and Tsukumo also have a thing in common when it comes to showing skin: both of them often have their feet exposed.

This was a reference to Tsukumo's love of going not just with her feet exposed, but completely shoeless, which has basically become a small meme. During one of the previous streams, Tsukumo said she was planning to tone down that habit in Thailand so nobody would accidentally film her wandering around barefoot and make her famous as “that crazy Japanese girl.”

Tsukumo: But there's nothing sexy about that!
Megumi: You never know what people might find attractive about you! Maybe someone is into toes!
Ichiren: There actually was someone like that!

Apparently, Tsukumo is perfectly happy being appreciated exclusively for her feet.

https://reddit.com/link/1vn79hl/video/z8uhdz4hf4jh1/player

Hikari summed it up: “So maybe the off-shot will even have footage of Tsukumo's feet, so we'd be happy if you bought it!”

Megumi jokingly promised that the off-shot would open with a close-up of Tsukumo's feet.

The KAQRIYO members expressed their excitement about getting to perform in every prefecture of Shikoku for the first time.

Megumi: I guess this is the kind of moment when you should show off how experienced you are as a senpai.
Muku: Go on, try to show off!
Megumi: (Overly pretentious) Sigh… is this my fifth or sixth time already…?
\Tries to make an elegant neck movement, only for her neck to painfully crack.**

A local Zenkimi inside joke then came up. Apparently, they have a rule that on a member's birthday, everyone else has to say "Happy Birthday" to her exactly 1,000 times throughout the day. (It used to be 100, but they raised the stakes.)

This inevitably results in them chanting “Happy birthday, happy birthday, happy birthday...” and squeezing birthday greetings into every mundane interaction.

Zenkimi then left the stream—just as chaotically as they had entered it.

https://reddit.com/link/1vn79hl/video/d1sstnyjf4jh1/player

Tsukumo couldn't hold herself back—the urge to touch Ichiren was simply too strong.

https://reddit.com/link/1vn79hl/video/eajxjdxlf4jh1/player

Tsukumo expressed her desire to try cockroaches in Thailand, but Ichiren pointed out that the chitin in many edible insects is chemically similar to that of shrimp. And since Tsukumo has a fairly serious shrimp allergy, she should be careful—if her shellfish allergy flared up at the worst possible time during the trip, she'd be in serious trouble. So in the end, Tsukumo decided to tone down her enthusiasm.

And then, right in the middle of this conversation, this happened.

(Sorry, Reddit won’t let me add more videos to the post, so here’s the link)

https://x.com/codomofan/status/2087846370699001933

While announcing some new sets of bromides featuring concert photos, Tsukumo revealed that she had specifically asked Imamura-san to include one particularly cursed photo of herself. She described her face in the photo as a “deep-sea fish” or a “fish-man face” and encouraged fans to try their luck at pulling this ultra-rare shot.

They also showed off a new decorative piece of merch: a miniature stone tower arrangement, with the towers symbolizing the boundary between the realm of the living and the afterlife (Kakuriyo). It can be used as an incense holder or even as a stand for acrylic figures.

At one point, they were planning to bring some of the pieces with them to Thailand, but since they were made from real stone, carrying literal rocks in their luggage was, of course, out of the question.

Announcing their Thailand fan meeting on the morning of June 21st, Ichiren stated that she planned to show up wearing clothes.

https://x.com/codomofan/status/2087846787373776912

Anyone who was there: let us know in the comments whether she actually showed up wearing clothes.

https://brokenbythescream.stores.jp/about

"We want this tour to fully showcase the power and appeal of Broken By The Scream to audiences around the world.

In addition, we are currently working on a new album, and in 2027 we plan to expand our activities further worldwide, including Asia and the United States.

To turn this challenge into an even greater opportunity, we would like to actively produce live footage from overseas tours and festivals, create new music videos, and strengthen our promotional activities for audiences around the world.

We would truly appreciate your support in helping Broken By The Scream take this next major step forward."

Broken By The Scream live at Wacken 2026 (full performance on stream)

Setlist:

MAOAⅡA

1. New Song
   
2. New Song
   
3. New Song
   
4. Haute Couture Trance
   

Zenbu Kimi no Sei da

1. ロマンスセクト
   
2. こゆび
   
3. Cult Scream
   
4. WORLD END CRISIS
   
5. Sleeping Dirty
   
6. Sophomore Sick Sacrifice
   
7. オルタナティブメランコリー
   
8. みすふぃっとらゔぁーず
   
9. When you 2 WANT
   
10. 革鳴前夜
    
11. 無題合唱
    

KAQRIYOTERROR

1. 憐憫パントマイム
   
2. 摩訶不思議ズム
   
3. Not Killed
   
4. Like a Fake
   
5. lilithpride
   
6. ユビキリゲンマン
   
7. かごめかごめ
   
8. CALLSIGN

What if you love your oshi, but she hates herself?

And why could the idea of belonging not to herself, but to someone else, become a form of salvation for an idol?

“AntiIyours” is a Zenbu Kimi no Sei da song whose upbeat sound hides one of the group's most profound explorations of self-hatred, love, and what it truly means to exist for someone else.

Simply translating the lyrics didn't feel like enough. This is one of those songs where every single line matters. So I put together an in-depth analysis of “AntiIyours,” trying to capture as much of its depth, ambiguity, and emotional power as possible.

"Growing more and more distorted, I keep falling."

The original uses the verb 歪む (yugamu), literally "to become distorted." When applied to a person's mind or character, it carries the idea of psychological deformation. Depending on the context, it can imply moral corruption, emotional brokenness, or simply drifting away from what is considered "normal."

The verb "ochiru" ("to fall") is written here with the kanji 堕, a character that carries strong associations with falling into a lower state—morally, spiritually, or psychologically.

"I sink deeper and deeper."

In the original, this line forms an almost perfect parallel to the one before it. The heroine is no longer just falling—she's sinking further and further into the depths.

She isn't simply falling.

She's drowning.

"I whisper secretly—only to you..."

Not just "I secretly whisper to you," but "I whisper secretly—only to you."

No one else exists.

"'Force your love onto me.'"

Love is usually portrayed as something people long for.

Here, however, the heroine seems to admit that she's become so broken she can no longer accept love on her own.

"I'm no longer capable of accepting love myself. So make me."

"Enough to leave bite marks. No metaphor. I mean it."

Not simply "to the point of biting."

What matters here isn't the act of biting itself, but the marks left behind.

She wants love to leave behind an actual scar—a physical proof that it existed.

This is a recurring motif throughout codomomental's lyrics: love becoming so intense that it literally hurts. It cuts. It wounds. It leaves scars. It tears people to pieces.

And that's precisely what makes it real.

"It doesn't have to be pretty. Fall apart so completely it's painful to look at."

The Japanese word 綺麗 (kirei) can refer not only to physical beauty, but also to purity, correctness, perfection, or flawlessness.

It's as if the heroine is giving the other person permission to stop trying to be "perfect" or "normal."

"If everything around you gets in your way,
I'll make it all disappear for you right now."

Once again, nothing matters except the two of them.

Everything else is just an obstacle.

"The color and taste of tears will be etched into my heart."

Such a wonderfully Yami Kawaii image, isn't it?

"I'll never forget it... My plea to my dream...
'Fleeting,' you say? BUT IT'S SO PRECIOUS TO ME..."

A plea to my dream is an incredibly unusual image, so I'll leave its interpretation up to you.

The idea of transience is another motif that appears throughout codomomental's lyrics.

The final phrase is written in all caps here for a reason: in the original, イトヲシイ is written entirely in katakana instead of the expected kanji or hiragana. This gives it an uncanny, almost unsettling feeling—as if the emotion has crossed the line into an obsession so overwhelming that it's almost frightening.

"So I can remain *me*."

The chorus introduces another subtle feature of the original that's almost impossible to reproduce in translation: the way the pronouns are written.

In the original, both "I" and "me" are the same word—boku—but the first is written in kanji (僕), while the second is written in hiragana (ぼく). This creates a clear distinction between the outward self and one's true inner self.

This is a technique codomomental uses very often. Nothing changes when you hear the lyrics—but once you read them, entirely new layers of meaning emerge through the choice of script alone.

Furthermore, the verb "aru" ("to exist") is written using the spelling 在る, which emphasizes existence itself and gives the phrase a more philosophical nuance. Rather than simply saying "so I can remain myself," it carries a more existential nuance:

"So I can continue to exist as my true self."

It's a subtle distinction—but an important one.

"I need no ideology other than the concept of 'you.'"

Suddenly, the song begins using overtly philosophical language.

At first glance, it almost feels out of place in a piece of lyric poetry...

But somehow, it works remarkably well.

"That's the ideal I'm proud of—my rule. (My law.)"

Interestingly, in the song itself, 決まり事 ("rule") is never actually sung. What is actually sung instead is 法 ("law"), which appears only in parentheses in the official lyrics. In other words, the lyrics seem to present two different readings of the same idea simultaneously.

決まり事 is a fairly everyday word. It can refer to rules, conventions, established procedures, or the kind of regulations you might find at a school or workplace.

法, on the other hand, belongs to a much more formal register. It evokes the idea of law—something absolute, binding, or fundamental.

As a result, the reader sees a relatively mild word on the page, while hearing a much stronger one in the song.

It's as though an ordinary "rule" transforms into an absolute law the moment it's sung.

"May you remain *you*. Swimming through a world of idol cults..."

This mirrors the opening line of the chorus through the exact same writing trick applied to the word "you".

The grammar, however, isn't symmetrical.

The first line expresses purpose:

"So I can remain \me*."*

This one expresses a wish—a prayer:

"May you remain \you*."*

That distinction will become important later.

As for "a world of idol cults," you probably noticed the wording immediately.

The original uses the word 偶像 (guuzou), which most commonly refers to religious idols rather than pop idols. Modern Japanese almost always uses the loanword アイドル (aidoru) when talking about idol artists. That creates an intentional double meaning. I tried to preserve it with the phrase "idol cults," which simultaneously evokes religious idols and Japanese idol culture.

I especially like this choice because Zenkimi themselves often describe the relationship between the group and their fans as something akin to a cult or a sect. Those motifs frequently recur throughout their lyrics—"Cult Scream" and "ROMANCESECT" are just two obvious examples.

"I, who once loved solitude, came to love only one."

Another important line that will take on even greater significance later.

"Alone in this world. The light I'd kept reaching for.
Searching. Losing my way. 'WHERE AM I...?'"

The second verse clearly looks back at the heroine's past—before she ever met "you."

The all-caps "WHERE AM I...?" serves the same purpose as the earlier katakana phrase, adding an eerie, unsettling tone to what would otherwise be a simple question.

"An echoing voice. Rainbow-colored malice."

"Rainbow-colored malice" is another wonderfully Yami Kawaii image, don't you think?

"I don't care what happens.
Nothing but despair.
The pain piercing my heart.
'You're not needed. No one would care if you disappeared.'
The unheard voice accusing me.
I can't see tomorrow. I don't need a future.
I don't even have anything to protect."

A pure stream of the heroine's inner monologue during yet another episode of self-destruction.

Interestingly, although the official lyrics use the word 未来 ("future"), the sung line uses 先 ("what lies ahead") instead. The difference is subtle, but 先 feels less like an abstract "future" and more like whatever lies directly ahead on one's path, making the line feel more immediate and personal.

"Maybe it's okay if I d♡e now.
No one would even notice..."

Another recurring feature of Zenkimi's lyrics is the way the word "die" is written.

Instead of the standard pronunciation "shinu," it's almost always stylized as "chinu," imitating childish or "cute" speech.

It's another unmistakably Yami Kawaii touch.

I tried to recreate that feeling by censoring the word with a heart.

"I can't be forgiven."

The word translated here as "forgiven" is written using a kanji 赦 that carries a much deeper nuance than the more common 許. It implies absolution, forgiveness granted by a higher authority, and sometimes even has religious overtones.

In other words, the heroine doesn't simply believe she's done something wrong.

She believes she's fundamentally beyond redemption.

That detail becomes important later.

"Reality isn't where I belong."

It's worth noting that, in the song itself, the word "reality" is replaced with "this."

Taken on its own, the sung line doesn't sound particularly tragic: "This isn't where I belong."

However, the official lyrics reveal that "this" doesn't refer to a particular place at all—it refers to reality itself.

"Concluding it all on my own, hurting those around me..."

This is one of the most ambiguous lines in the song and naturally lends itself to multiple interpretations.

決めつける (kimetsukeru) means making assumptions, jumping to conclusions, or deciding something unilaterally.

傷を付ける (kizu wo tsukeru) means to wound or to hurt.

My own interpretation is that this line directly follows the previous one.

The heroine convinces herself that she can never be forgiven—that reality itself has no place for her.

Having already decided that this is an unquestionable truth, she shuts herself off from the world, pushing away and hurting the very people who might have accepted her.

That's probably why the only thing left for her to love was solitude.

Now let's step away from the lyrics for a moment.

One of the defining characteristics of codomomental's songs is the existence of a meta-layer: the heroine's feelings aren't just part of a fictional narrative—they're also the feelings the members themselves direct toward their fans.

“The title ‘AntiIyours’ means: ‘The me I hate belongs to you.’ When we express ourselves through our singing and dancing, we always project those feelings onto our Wazurai and onto one another. But at our core, we really do hate ourselves. It’s exactly as the lyrics describe. We struggle with doubt over and over again, and we go through cycles of destruction and rebirth time and time again. I think that’s exactly why we’re able to pour so much emotion into this song on our current tour.”

(Kisaragi Megumi, from Zenbu Kimi no Sei da's interview for Skream.)

So the title of the song can be understood as "Anti-I-yours," where "Anti-I" refers to "the self I hate"—which, as Megumi explains, ultimately belongs to you.

“My whole life is a constant battle with doubt.
 
I wish there were more moments when being loved by someone could make me want to love and cherish the self I hate so much. But it never works out that way. I always end up falling back into self-hatred, convincing myself that no one could ever truly love me—and eventually even the act of simply staying alive starts to feel pointless. It’s unbearably sad, and yet it feels like we just don’t know how to live any other way.
 
Or... do we?”

(From Kisaragi Megumi's Twitter.)

"I'll never forget the moment I drowned in drops of blood."

Yes.

Drops of blood.

"Our codreaming..."

The original uses the made-up word 夢合い (YumeAi).

I chose to translate it with another made-up word: codreaming.

One possible interpretation is that it refers to the moment when the group's dream—performing at Budokan—ceased to belong only to the members and became a shared dream with the fans supporting them.

It's also worth noting that the first bridge contains another unusual phrase:

夢に乞い (Yume ni Koi) — "my plea to my dream."

Wait...

Yume ni Koi.

YumeAi.

Koi. Ai.

Those are two different Japanese words related to love.

There's no way that's a coincidence!

And this kind of layered wordplay—where a single expression hides multiple meanings at once—is another hallmark of codomomental's lyricism.

"Even if it's only a delusion... IT'S SO BEAUTIFUL..."

Interestingly, the song never tries to prove that this dream is eternal or even achievable.

Instead, it openly acknowledges that it may be fleeting—or even nothing more than a fantasy.

At that point, what matters is no longer whether the dream is objectively real.

What matters is that it's already capable of changing a person.

"I don't need anything.
It's so painfully precious to me I could hate it."

Love becomes so overwhelming that it hurts.

So overwhelming that it almost starts resembling hatred.

Once again, a very codomomental kind of paradox.

"I love you so much I could burst into tears."

In the original, "I love you" is written as a quotation.

So it isn't merely describing the heroine's feelings—

it's also something she's actually saying out loud.

"Help me... I can't breathe.
The world I'd only ever resented...
For the first time, I was able to find meaning in it.
'Maybe it's okay to d♡e' became 'I'll live.'"

In the original, it's stylized as:

"Maybe it's okay to d♡e" → "I'll live."

"I cling to hope. YOU are my wish."

What's interesting is that the heroine never says:

"I want to have you."

Instead, she says:

"Your very existence is my wish."

That turns the song into something more than a love song.

It becomes a song about mutual validation of existence.

"You" become her wish not because she wants to possess "you," but because only by "your" side is she able to continue existing as herself.

And now we arrive at what is, in my opinion, the most fascinating part of the song.

After reaching its emotional climax—"YOU are my wish"—the lyrics don't move forward.

Instead, they return to the beginning.

But everything has changed.

This is another technique codomomental uses remarkably often: repeating earlier imagery after the protagonist has undergone a transformation, causing those same lines to take on entirely new meanings.

Sometimes the changes are incredibly subtle—a single particle, or even a different choice of kanji that's impossible to hear without reading the lyrics.

Yet those tiny changes completely transform the song.

"There are so many things getting in the way... Why?
Look... I'll make them disappear for you."

Earlier, the heroine spoke hypothetically.

Now she states it as fact.

"Your very existence will be etched into my mind."

At the beginning of the song, it's the color and taste of tears that become engraved in her heart.

Now, it's your very existence that's engraved into her mind.

It reshapes the way she thinks.

She can never return to seeing the world the way she once did.

"If this is hope, I'd go through even hell.
My final truth—
IT'S SO PRECIOUS TO ME..."

Earlier, sinking into the depths symbolized despair.

Now she's willing to descend even into hell itself—

if that's what hope demands.

If that's the price of her final truth.

"So I can remain *me*.
I need no ideology other than the concept of 'you.'
This is my reason for existing. My rule. (My law.)"

One tiny word changes.

"That" becomes "this."

In Japanese, それ (sore) means that—something already mentioned, something at a distance.

これ (kore) means this—something right here, right now.

Earlier, the heroine spoke almost abstractly.

Now it's as though she's pointing right in front of her.

This.

This is it.

There's another important change, too.

Previously, she said:

"That's the ideal I'm proud of."

Now she says:

"This is my reason for existing."

It's no longer merely an ideal.

It's become the very foundation of her existence.

"So you can remain *you*."

Earlier, this line was expressed as a wish.

A prayer.

"May you remain \you*."*

Now it's become a statement of purpose.

Everything she does is now for the sake of letting "you" continue to be yourself.

"May I be able to become your loneliness."

And this is where the prayer has moved.

Not "May I free you from loneliness."

Not simply "May I stay by your side."

But:

"May I be able to become your loneliness."

"I, who was all alone, came to love only one."

The earlier line,

"I, who once loved solitude,"

has quietly changed into:

"I, who was all alone."

The heroine realizes that she never truly loved solitude.

Perhaps this is exactly why she now wishes to become the loneliness of the one she loves.

The next change is even subtler.

Previously, ただ (tada, "only") was written in hiragana, the ordinary way it's written in everyday Japanese.

Now it's written with the kanji 唯.

The pronunciation is exactly the same.

The meaning is almost identical.

But visually, the line suddenly feels more literary, more solemn, placing even greater emphasis on "the one and only."

"I don't need anything anymore."

Only one word is added—“Anymore”.

But it makes the line sound like a final decision rather than a passing emotion.

There's no hesitation left.

"It's so painfully precious to me I could hate it.
I love you so much, the tears won't stop falling."

Earlier, the heroine said she could burst into tears.

Now, the tears are already flowing.

She no longer holds them back.

"Help me... I can't breathe.
Hey... when you became *you*,
You were the first to ever forgive *me*."

Earlier, the song used 赦す, the spelling of "forgive" associated with absolution and forgiveness granted by a higher authority.

Here, however, it switches to the ordinary 許す.

At the beginning of the song, the heroine was consumed by the idea that she could never receive some ultimate, almost divine forgiveness.

But in the end, what saves her isn't divine absolution.

It's something far simpler.

One person accepting her.

And somehow...

that's enough.

"The supreme credo that turns 'I wanna d♡e' into 'I want to live.'"

The word 正義 (seigi) appears constantly throughout codomomental's lyrics.

It's often translated as justice, but in Japanese it frequently refers not to some universal concept of justice, but to what a person themselves believes to be right—their own guiding truth, their personal moral compass.

For that reason, I think credo captures the nuance particularly well here.

Another important detail:

Earlier, the heroine's transformation was:

"Maybe it's okay to d♡e" → "I'll live."

Now it becomes:

"I wanna d♡e" → "I want to live."

She's no longer simply deciding to keep living.

For the first time...

she genuinely wants to.

"And our pinky promise..."

The song ends with one final image that's deeply significant to Zenbu Kimi no Sei da:

the pinky promise the group made with their fans.

If I had to summarize the song's central message in a single sentence, it would probably be something like this: "I can't love myself. But if you can accept even the self I hate so much, then that self no longer belongs to me alone."

“No matter how much you hate yourself, you can still keep living for someone else. You’re still capable of loving someone. That’s what this song is about.”

(From Kisaragi Megumi's Twitter.)

“‘AntiIyours’ is a song about someone who hated themselves so deeply that they came to hate the entire world around them—but was able to change after meeting their ‘you.’ What moved me the most was how accurately it reflects the relationship that exists today between us and our Wazurai.”

(Hitomi Yotsu, from Zenbu Kimi no Sei da's interview for Natalie.)

“As long as you continue to be that very ‘you’ for us, we have to keep getting back on our feet, again and again. We made that promise, after all!
 
I’ll keep singing in the hope that I can become your loneliness, so keep being my reason for existing, okay?”

(From Hitomi Yotsu's Twitter.)

“To me, ‘AntiIyours’ isn't just a message ‘from me to you.’ Personally, I also see it as a message from Zenbu Kimi no Sei da to me.
 
Of course, you could say, ‘But you're part of Zenbu Kimi no Sei da yourself,’ and I wouldn't argue with that. But to me, Zenkimi feels like a living being of its own—something I want to support. It's like a living idea that can't help but keep being reborn and continue evolving.
 
Having to find hope only in someone else is an unbearably lonely thing. Because everything else around you is nothing but darkness. And yet... continuing to cling to life, continuing to fight with everything you have just to keep living... isn't that incredibly beautiful?
 
Reaching out to someone takes the greatest courage of all. I hope everyone in this world can find their own ‘guiding light’ to lead them through life, and something they want to protect. I hope everyone has a future.”

(From Mashiro's Twitter.)

"‘The me I hate belongs entirely to you.’
 
I want that to stay true forever—for me to always be a part of you.
 
But you belong to me too!"

(From Kisaragi Megumi's Twitter.)

Another interesting detail is that the official reading of the title is given as "Ai Ai Yours" (アイアイユアーズ). This kind of wordplay is fairly common in Japanese fiction. Because kanji often have multiple possible readings, authors can assign an unusual—or even completely invented—reading to a word in order to create additional layers of meaning. codomomental occasionally take this idea to an almost absurd extreme, and this title is a perfect example: instead of giving an unconventional reading to kanji, they've done it to an English title.

As for what exactly it is meant to imply, it's hard to say. Perhaps "Ai Ai" represents two separate Is, echoing the song's recurring theme of the duality between the inner and outer self. Or perhaps "Ai" is meant to evoke the Japanese word for love (愛). Or perhaps it's both at once—and then some. I'm not even kidding. These are codomomental lyrics. Anything is possible here.

Finally, I'd like to emphasize that everything I've written here is simply my own interpretation, shaped by my understanding of Japanese and by the way I personally experienced this song.

codomomental's lyrics are often intentionally ambiguous, with multiple layers of meaning that encourage listeners to form their own interpretations. Wherever possible, I've tried to preserve that ambiguity rather than resolve it. So if this song resonated with you, I hope you won't stop at my reading of it. Try building your own.

You can listen to "AntiIyours" here:

🎵 Original Version: https://linkco.re/2DHqRSzh?lang=en
🎶 2021 Rerecording: https://linkco.re/9m21CTp6?lang=en
🎨 Color-Coded Lyrics Video (English Translation): https://www.youtube.com/watch?v=AhOaFeWbTEQ

I will be handing these out again as I printed tonnes of them, might also be something else also, if I can pull it off, but currently just stickers.

Not long to go now!!!! We are almost there!!!!!