Pilgrim

Goodbye, journey-into let's-go-question?

旅に出る ('to set out on a journey') is the standard phrasing — 旅 takes に because the journey is the destination-state you're going INTO. The volitional 〜よう + question か = 'shall we?'

(English) shoulder-of-back-side-at is-knocking, beginning-of-signal (subj) is-born

肩の裏側 ('the back of the shoulder') is an oddly specific anatomical location — the kind of spot where you'd feel a tap from behind. The signal of departure approaches from the blind spot.

Key not-having suitcase, empty-into go-on-doing-ze

鍵のない ('without a key') = a suitcase you can't lock — nothing inside is precious enough to protect. 空っぽにしていこう layers 〜にする ('make into') + 〜ていこう ('go on'): 'go on emptying.' The ぜ at the end gives it masculine bravado.

Here-through far-and-fine right? Before-you-know-it sun-even vanish-away-end-up because

だろ is the casual contraction of だろう ('right?'). 太陽だって消え去ってしまう uses だって for emphasis ('even the sun') + 〜てしまう for irreversibility. The reasoning: even the sun is mortal — so why hesitate?

Burn-out-and let's-try, sandstorm-of-far-side toward

燃え尽きてみよう is 〜てみる ('try V-ing') + volitional よう = 'let's try V-ing.' The whole verb chain is V1-te + V2 (try) + volitional. 彼方 (kanata) is a poetic 'beyond' — more atmospheric than 向こう ('the other side').

Just charged-forward straight, destination as-for, where-until?

突き進む = 突く ('thrust') + 進む ('advance') — push forward through obstacles. The kanji combine to make 'thrust-forward.' どこまで ('until where?') is the question with no expected answer.

One-way-of pass (obj) clenching let's-go, Forever long

片道 ('one-side road' = one-way) is the standard transit-vocabulary term — opposite of 往復 ('round-trip'). Holding a one-way ticket commits you to not returning.

Goodnight, night (subj) dawn-before, (English)

夜が明ける ('night opens / breaks') is the standard idiom for daybreak — distinct from 朝になる ('become morning'). The two verbs build different images: 'opens' suggests night as a container; 'becomes morning' suggests night as a state.

Image-even shape-into transform, tomorrow will be yesterday

イメージさえ uses さえ ('even') to flag the most unlikely member of a class — even something as intangible as an 'image' becomes an example. The English 'tomorrow will be yesterday' is paradoxical, looping the song back to its theme of irreversible journey.

Darkness-of-far-side toward keep-flying rain, light-of pierce place even, can't-see-even-if-fine right?

見えなくたっていい is the casual contraction of 見えなくてもいい ('it's fine even if not seen'). The 〜たって conditional is rougher than 〜ても but identical in meaning. Stacked with さえ ('even') and だろう ('right?'), the line shrugs off the loss of vision.

Back-to-as-for, can't-pull road (obj), one-person-portion-of road (obj), already chose and advance

後には引けない ('can't pull back') is the standard idiom for 'past the point of no return.' 一人分 ('one-person-portion') is a counter+分 construction — distinct from 一人 alone (just 'one person'). 一人分の道 stresses the road's narrowness — it fits one.

Finish-not-but, with-this fine-it-is-yo

終わってない is the casual contraction of 終わっていない ('has not finished'). これでいい ('with this, fine') is the verdict: the journey isn't done, but the speaker's stance is final.

(English) end-no Escape, that-beyond-in waits thing

終わりのない ('without an end') is the noun-no-nai modifier — modifying the next noun (Escape). その先に待つもの — verb-clause modifier: 'the thing that waits beyond.'

Ruined-completely earth even, beginning-and-end (obj), loneliness-and-freedom (obj) hold-close-go-let's

あれ果てる ('go to ruin completely') uses the 〜果てる suffix ('to the limit / completely') — same morpheme as 変わり果てる ('completely transform') from Scar. The verse pairs opposites — 始まりと終わり, 孤独と自由 — and offers them all to embrace at once.

Heart-thin-and fine right?

心細い ('heart-thin' = feeling alone, vulnerable, not having backup) is one of those Japanese compound adjectives that doesn't translate cleanly. It's not loneliness exactly — it's the feeling of being unsupported.

Already clench-tight let's-go, Forever love, come-on let's-advance

Three volitional verbs in succession — いこう, 進もう — close the song with the same forward push it opened with. The repeated 'Forever love' takes over the ending, the English line as the song's verdict on its own commitment.