Ubiquitous dB

(English) as-for, still not-enough

じゃ is the casual contraction of では ('as for that'). 〜じゃ足りない is the dismissive 'X isn't enough' — the speaker is saying 'just wanting volume is insufficient.' 足りる ('be enough') with 〜ない gives the negative.

World as-for transparent is, boundary-line (subj) anymore anywhere-not

境界線 ('boundary-line') is news/political vocabulary — used for borders, dividing lines. Saying 'the world has none' is a digital-utopia statement, fitting for the SAO movie about AR overlay erasing real/virtual boundaries.

Answer (please), name (obj) let's-do, Emotion-graphy

答えてよ uses te-form + よ for a soft, almost coaxing request. Less formal than 答えてください ('please answer'), more emotional than 答えて on its own. The coined 'Emotion-graphy' is a wasei-eigo neologism — like 'discography' but for feelings.

Find-try-please, voice-of-inside-of pure heart

見つけてみて = 〜てみる ('try V-ing') in te-form + よ-style soft request. Layered: 'try finding it' as a coaxing invitation. ココロ in katakana is a stylization of 心 ('heart') — common in pop lyrics where the writer wants the word to feel modern or ungrounded.

Sound-imp., hi-fi feeling-with, myself (obj) surpass, chest-strike melody

鳴らせ is 鳴らす ('sound / cause to ring') in imperative form. 自分を超え uses 超える ('surpass') in stem form to chain to the next clause. 胸打つ is the noun-modifying contraction of 胸を打つ ('strikes the chest') — common shorthand in song titles.

And-then real secret teach-let-me, this song as-for

教えよう is 教える ('teach') in volitional ('let me teach'). The unfinished この歌は ('this song is…') trails off — the song is its own answer.

Ear (obj) clearing

耳を澄ます ('clear the ears') is the standard idiom for 'listen carefully / strain to hear.' 澄ます ('to clarify / make pure') is the same root as 澄む ('be clear,' as of water or sky).

Together-in stay-imp., that (subj) song because

いれよ is the imperative of いる ('be / exist') — 'stay / be' + the よ emphasis. The verb いる + 一緒に ('together') = 'be together / stay with someone.' Common request in pop ballads.

Properly is-visible-I-wonder? More hand (obj) wave

〜かな is the soft, half-to-yourself question particle: 'I wonder…' Less directly aimed at the listener than 〜か (a direct question). 振って is a soft request without よ — more of a stage-direction than an order.

Emotional sentiment as-for, direct, found, is-blinking, that (subj) you-of-pure-place

感情的感傷 ('emotional sentimentality') stacks two near-synonyms — Sayaka Kanda's lyrics often use these dense compound nouns. 点滅 ('blink-cease' = blinking) is technical-leaning, used for LED indicators and traffic lights — making the listener's pure place a signal beacon.

Sorry but, by-all-means listen-want-it-is, you-of-sake-only sing-if

是非 (zehi) is a polite emphasizer for requests: '是非聴いてください' = 'please, by all means, listen.' のためだけに ('only for the sake of') singles out the recipient — combined with 〜なら, it sets the conditional 'if I'm singing only for you.'

For-some-reason a-little ended-up-tearing-up, you (subj) smiled-for-me

泣けちゃって = 泣ける + てしまう, casual contraction. 泣ける ('be able to cry / start to cry') vs 泣く ('cry') — 泣ける is the spontaneous tearing-up, not full crying. Layered with 〜ちゃう for 'ended up unintentionally.'

Here as-for where? I as-for who?

でしょう is the polite version of だろう — softens a question into 'I wonder…' The double rhetorical questions are stock J-pop existential beats, fitting for an SAO movie about characters trapped between digital and real.

Voice (obj) relying-on search (please), heart-with sing, heart-to-reach-want

〜を頼りに ('relying on / using as a guide') is the structure for 'navigate by means of.' The voice replaces map / GPS / sight as the guidance system. 届く ('reach' as in 'a letter reaches' or 'feelings reach') is intransitive — Sayaka uses 〜てほしい to wish for it.

Dream-also real-also aiming, hi-fi feeling-with, time (obj) surpass, chest (obj) pierce

貫く (tsuranuku, 'pierce / penetrate') applied to 胸 ('chest') = 'shoots through the heart.' The verb is also used for keeping a vow or principle — 信念を貫く ('uphold one's beliefs to the end'). The stem-form chains let the song stack four verbs in one breath: aim → surpass → pierce → reach.