‘堕天’ (Daten) by Creepy Nuts

JLPT N3 J-Pop Lyric Analysis Guide

1. Title and Orientation

This study guide supports JLPT N3 learners (intermediate Japanese) in analyzing the song ‘堕天’ (Daten) by Creepy Nuts. The intended reader is comfortable with basic kanji and grammar but needs support with contemporary slang, literary references, and idiomatic expressions common in J-pop and hip-hop lyrics. This document provides linguistic breakdowns, cultural context, and practice materials to deepen comprehension.

Proficiency Prerequisites:
Students should have completed JLPT N4 or equivalent before attempting this material. Specifically, you should be comfortable with:

て-form, た-form, and plain forms of verbs and adjectives
Basic particles (は, が, を, に, で, も, と)
Approximately 600-700 kanji (N5 + N4 levels)
Basic sentence patterns like potential form, giving/receiving verbs, and simple conditional forms.

How to Use This Guide:

Complete Pre-Listening Activities (Section 3)
Do Active Listening Tasks (Section 4) with the audio
Study Line-by-Line Commentary (Section 5) with lyrics and audio
Review Slang Glossary and Grammar Appendix (Sections 6-7)
Complete Practice Set (Section 8)
Do Production Activities (Section 9)
Follow Next Steps (Section 10)

Important: This song is best used to reinforce and practice grammar you’ve already studied, not to learn new structures for the first time. You should interact with this song 5-7 times across different activities for maximum learning benefit.

2. Full Lyrics Display

“堕天” (Daten), which translates to “Fallen Angel” or “Falling from Heaven,” is the opening theme song for the anime series Yofukashi no Uta (Call of the Night). The song’s lyrics draw heavily from the biblical story of the “Original Sin” or “Fall of Man,” where Adam and Eve eat the forbidden fruit in the Garden of Eden. It explores themes of temptation, breaking taboos, discovering a new world (the “night”), and finding a unique sense of belonging and healing in that fallen state. The narrative follows two people who become accomplices in a transgression and find themselves in a new, chaotic, yet liberating reality.

Key structural elements include:

Verse 1: Establishes the “Adam and Eve” motif, describing the moment of transgression and the immediate consequences.
Verse 2: Describes the new “fallen” world as a chaotic but accepting place, reframing negative judgment as a driving force.
Pre-Chorus: Captures the dizzying, addictive feeling of this new experience.
Chorus: The central theme of “falling” is presented as a continuous, almost desirable state, a spiral into a new world with a companion.
Post-Chorus: Intensifies the idea of indulging in this forbidden pleasure and breaking free.

Audio Integration Note:

Audio source: Official MV on YouTube
Total song length: 2:54
Recommended listening approach:
- First listen: No lyrics, focus on the overall impression and R-Shitei’s rhythmic flow.
- Second listen: With the gap-fill exercise (Section 4).
- Third+ listens: With full lyrics and commentary (Section 5).

Tempo and Difficulty Rating:

Tempo: Fast (approximately 150 BPM)
Pronunciation clarity: Challenging. R-Shitei’s rap is fast and requires attentive listening to catch all particles and word endings.
Vocabulary level: Mix of N3-N2, with significant literary and cultural references.
Cultural reference density: High. Relies heavily on the biblical story of Eden.
Overall difficulty: Advanced N3.

3. Pre-Listening Activities

Before You Listen: Preparation Activities

Complete these activities before your first listening to maximize comprehension and reduce frustration.

Vocabulary Preview
Familiarize yourself with these 7 key terms that appear frequently in the song:

共犯 (きょうはん): Accomplice, partner in crime.
境界線 (きょうかいせん): Borderline, boundary.
追い立てられる (おいたてられる): To be chased out, driven away.
螺旋状 (らせんじょう): Spiral shape, helical.
摩天楼 (まてんろう): Skyscraper.
ごった煮 (ごったに): Hodgepodge, jumble of various things.
徒花 (あだばな): A flower that blooms but bears no fruit; something fruitless or vain.

Thematic Warm-up Questions
Think about these questions before listening:

Have you ever broken a rule and felt a sense of freedom afterward?
The song uses the metaphor of “falling.” Can “falling” sometimes be a positive experience?
What do you know about the story of Adam and Eve and the “forbidden fruit”?

Grammar Alert
This song features these grammar patterns you should recognize from JLPT N3 studies:

~てみた: “Tried to do ~.” Listen for how the speaker describes their attempt to cross a boundary.
Passive Form (~られる): “to be done by someone/something.” The speaker is acted upon, being “chased out” of a place.
~ようになる: “to become able to,” indicating a change over time. Notice how their wounds heal in the new world.

Watch for these patterns as you listen—they’ll help you understand the singer’s feelings and intentions.

First Listening Goals
On your first listen (WITHOUT reading the lyrics), try to identify:

General mood/emotion of the song (defiant? chaotic? liberated? romantic?)
2-3 Japanese words you recognize clearly.
Whether the song is: telling a story / expressing feelings / describing something.
Any English words used in the song.

4. Active Listening Tasks

Progressive Listening Activities

Listening 1: Global Comprehension (without lyrics—audio only)

Play the song once. Answer these questions based only on what you hear:

What is the overall mood? Circle one: happy / sad / defiant / nostalgic / energetic / melancholy
Is this a fast or slow song? Circle one: slow / moderate / fast
Do you hear any English words? If yes, write them: _______________
Does the singer sound: male / female / multiple voices?
Wild guess: What do you think this song is about? (One sentence)

Listening 2: Targeted Information (with partial lyrics—gap-fill exercise)

Fill in the missing words or particles.

あの日林檎の木の下___犯で (Ano hi ringo no ki no shita ___han de)
追い立てられて_____次元へ (Oitaterarete _____ jigen e)
堕ちてゆく_____に (Ochiteyuku _____ ni)
鬼も仏も_____目 (Oni mo hotoke mo _____ me)
いつの間に傷__埋まってく (Itsu no ma ni kizu __ umatteku)

Listening 3: Detailed Analysis (with full lyrics)

Now you’re ready for the complete lyrics and detailed commentary in Section 5. As you read the analysis, play each section of the song to hear how it sounds. Notice:

How R-Shitei connects words and drops sounds in his rapid delivery.
Where the rhythm and emphasis fall on certain words.
The contrast between the fast-paced verses and the melodic chorus.

5. Line-by-Line Commentary

Verse 1

Line 1: あの日林檎の木の下共犯で (Ano hi ringo no ki no shita kyouhan de)

Translation: “That day, under the apple tree, as accomplices.”
Grammar: で is the particle indicating the means or state, here meaning “as accomplices.”
Cultural Note: This is a direct reference to the biblical story of Adam and Eve, who were accomplices in eating the forbidden fruit, often depicted as an apple.
N3 Connection: Reinforces the use of particle で to describe a state or condition.

Line 2: 踏み越えてみた境界線 (Fumikoete mita kyoukaisen)

Translation: “The borderline we tried to step across.”
Grammar: The verb is 踏み越える (fumikoeru – to step over). The ~てみる (~te miru) pattern means “to try to do something.” It’s in the past tense (みた).
N3 Connection: A classic N3 grammar point (~てみる) used to express an attempt or experiment.

Line 3: すぐに black out「ああお怒りで」 (Sugu ni black out “aa oikari de”)

Translation: “An immediate blackout. ‘Ah, because of the anger…'”
Grammar: 「」 indicate quoted thought or speech. お怒り (oikari) is a respectful form of 怒り (ikari – anger), likely referring to God’s anger. で is the particle for cause/reason.
Cultural Note: “Black out” signifies the loss of innocence or the paradise (Eden) they were in.

Line 4: 追い立てられてこんな次元へ (Oitaterarete konna jigen e)

Translation: “Driven out into a dimension like this.”
Grammar: 追い立てられて (oitaterarete) is the passive て-form of 追い立てる (oitateru – to drive out). It shows they were forced out.
N3 Connection: Use of the passive voice (~られる) is a key N3 concept.

Line 5: 俺とした事が俺如きですら (Ore to shita koto ga ore gotoki de sura)

Translation: “That I would do such a thing… even someone like me…”
Grammar: 俺とした事が is an idiom expressing disbelief or regret at one’s own actions. 如き (gotoki) is a literary way of saying ~のような (like/such as), often used with humility or self-deprecation. ですら is a more formal version of でさえ (even).
Vocabulary Note: 如き is N1 level, but the feeling of self-reproach is understandable.

Line 6: 俺に限っていやまさかね (Ore ni kagitte iya masaka ne)

Translation: “Of all people, me? No, no way…”
Grammar: ~に限って (~ni kagitte) means “especially” or “of all things/people,” often used to express surprise that something happened to the person you’d least expect. まさか is an expression of disbelief.
N3 Connection: The pattern ~に限って is an important N3 construction for expressing unexpectedness.

Line 7: 君のせいにした秘密を手にした (Kimi no sei ni shita himitsu o te ni shita)

Translation: “I blamed you. I obtained a secret.”
Grammar: ~のせいにする means “to blame someone.” 手にする (te ni suru) is an idiom for “to obtain” or “get one’s hands on.”
Cultural Note: Refers to Adam blaming Eve. The “secret” is the “knowledge of good and evil” from the fruit.

Line 8: チジの葉が右左 (Chiji no ha ga migihidari)

Translation: “The fig leaves, right and left.”
Cultural Note: The lyric says チジの葉, which is likely a stylistic choice or typo for イチジクの葉 (ichijiku no ha – fig leaves). In Genesis, after eating the fruit, Adam and Eve cover themselves with fig leaves.

Pre-Chorus

Line 9: あっという間目が醒める (Woo) (Atto iu ma me ga sameru)

Translation: “In the blink of an eye, I’m wide awake.”
Grammar: あっという間 (atto iu ma) is a set phrase meaning “in an instant.” 目が醒める (me ga sameru) means “to wake up.”
Pronunciation Note: Sung quickly, it sounds like “attoyumamesameru.”

Line 10: かと思えば空に落ちて行く (Ka to omoeba sora ni ochite yuku)

Translation: “And just when I think that, I’m falling into the sky.”
Grammar: ~かと思えば (~ka to omoeba) is an N3 pattern meaning “just when I thought X, then Y happened unexpectedly.”
N3 Connection: This phrase perfectly captures a sudden, surprising turn of events.

Line 11: なんというかやめられぬ (Nanto iu ka yamerarenu)

Translation: “How should I put it… I can’t stop.”
Grammar: なんというか is a conversational phrase for “how should I say…” やめられぬ (yamerarenu) is a literary negative potential form of やめる (yameru). The modern equivalent is やめられない (yamerarenai).
N3 Connection: While ぬ is literary, it’s a variation of the standard negative potential form (~られない) learned in N3.

Line 12: もうひと齧り (Mou hito kajiri)

Translation: “Just one more bite.”
Grammar: This is a noun phrase, not a full sentence. ひと (hito) + counter + noun.

Chorus

Line 13: Again, fallin’, falling, 螺旋状に (Rasenjou ni)

Translation: “Again, fallin’, falling, in a spiral.”
Grammar: ~状に (~jou ni) is a suffix that turns a noun into an adverb, meaning “in the shape of ~.”

Line 14: 堕ちてゆく摩天楼に (Ochite yuku matenrou ni)

Translation: “Falling towards the skyscrapers.”
Grammar: 堕ちてゆく is a combination of 堕ちる (ochiru – to fall) and 行く (yuku – to go), indicating a continuous or ongoing fall. The particle に marks the destination or direction of the fall.

Line 15: 今 fallin’, falling, 二人ぼっち (Ima fallin’, falling, futari bocchi)

Translation: “Now fallin’, falling, just the two of us alone.”
Vocabulary Note: 二人ぼっち (futari bocchi) means “just the two of us,” an extension of 一人ぼっち (hitoribocchi – all alone). It implies an intimate, isolated world for two.

Line 16: 気づかないフリにも (Kizukanai furi ni mo)

Translation: “Even pretending not to notice.”
Grammar: ~フリをする means “to pretend to ~.” Here, the verb is omitted, leaving the noun form フリ. The line is fragmented and likely connects to an implied action. The intended word here might be カーテンコール (curtain call), as often transcribed, suggesting they don’t even notice the end of the show.

Lines 17-18: (Yeah, yeah, yeah, yeah, yeah) どこまでも / この身任せて ((Yeah…) doko made mo / kono mi makasete)

Translation: “To anywhere and everywhere / Entrusting this body.”
Grammar: どこまでも means “to any extent, anywhere.” この身任せて is the て-form of 身を任せる (mi o makaseru – to entrust oneself), used to connect actions.

Line 19: いつの間に傷が埋まってくyeah (Itsu no ma ni kizu ga umatteku yeah)

Translation: “Before I knew it, the wounds are healing, yeah.”
Grammar: いつの間に (itsu no ma ni) is a phrase meaning “before one knows it.” 埋まってく (umatteku) is a casual contraction of 埋まっていく (umatte iku), the progressive form of 埋まる (umaru – to be filled, to heal over).

Verse 2

Line 20: そこじゃ何から何までごった煮で (Soko ja nani kara nani made gottani de)

Translation: “Over there, everything from A to Z is a hodgepodge.”
Grammar: そこじゃ is a casual form of そこでは. 何から何まで is an idiom for “everything.” ごった煮 (gottani) means a mix of various things stewed together.

Line 21: 鬼も仏もおんなじ目 (Oni mo hotoke mo onnaji me)

Translation: “Demons and Buddhas have the same eyes.”
Grammar: おんなじ is a casual pronunciation of 同じ (onaji – same).
Cultural Note: This line suggests a world without moral judgment, where good and evil are indistinguishable or treated equally.

Line 22: 全てshut out どうかしてる？ (Subete shut out douka shiteru?)

Translation: “Shut everything out. Am I crazy?”
Grammar: どうかしてる is a common phrase meaning “something is wrong (with someone),” “to be crazy.”

Line 23: 俺らハナから大真面目 ayy (Orera hana kara oomajime ayy)

Translation: “We’ve been dead serious from the start, ayy.”
Grammar: 俺ら (orera) is a casual, masculine way of saying “we.” ハナから (hana kara) is slang for “from the very beginning.”

Line 24: ふりほどいて来たうしろ指ですら (Furihodoite kita ushiroyubi de sura)

Translation: “Even the pointing fingers (of accusation) I’ve shaken off.”
Grammar: うしろ指をさされる is an idiom for “to be pointed at behind one’s back,” meaning to be accused or spoken ill of. ですら means “even.”

Line 25: むしろ追い風さまだ足んねぇ (Mushiro oikaze sa mada tannee)

Translation: “In fact, it’s a tailwind. It’s still not enough.”
Grammar: むしろ means “rather, on the contrary.” 追い風 (oikaze) is a tailwind (a favorable wind). 足んねぇ (tannee) is a masculine, slang contraction of 足りない (tarinai – not enough).

Line 26: 蛇に睨まれた歴史の徒花 (Hebi ni niramareta rekishi no adabana)

Translation: “Stared down by the snake, a fruitless flower of history.”
Cultural Note: The snake refers to the serpent in Eden. 徒花 (adabana) is a flower that doesn’t bear fruit, a metaphor for something that looks beautiful but is ultimately unproductive or useless—a self-deprecating description of Adam and Eve after being cast out.

Line 27: エデンにはまだ空室あり (Eden ni wa mada kuushitsu ari)

Translation: “There are still vacancies in Eden.”
Grammar: 空室あり (kuushitsu ari) is a sign-like phrase meaning “vacancies available.”
Interpretation: This could mean that their “fallen” state is not permanent, or it’s a sarcastic comment on how they have no intention of returning.

(Pre-Chorus and Chorus are repeated)

Post-Chorus

Line 28: この血が冷めないうちに飲み干して (Kono chi ga samenai uchi ni nomihoshite)

Translation: “Before this blood cools, drink it all up.”
Grammar: ~ないうちに (~nai uchi ni) is an N3 pattern meaning “before (something happens).” 飲み干して (nomihoshite) is the て-form of 飲み干す (nomihosu – to drink up completely).
N3 Connection: This is a perfect example of using ~うちに to express urgency.

Line 29: 眩暈するほど気取って (Memai suru hodo kidotte)

Translation: “Putting on airs to the point of dizziness.”
Grammar: ~ほど (~hodo) indicates the extent or degree of something. 気取って (kidotte) is the て-form of 気取る (kidoru – to affect, to put on airs).

Line 30: 取り留めない出会いに色付けて (Toritomenai deai ni iro tsukete)

Translation: “Adding color to a rambling encounter.”
Grammar: 取り留めない (toritomenai) means “rambling, incoherent.” 色を付ける (iro o tsukeru) means “to color, to embellish.”

Line 31: この目が醒めないうちに憑り込んで (Kono me ga samenai uchi ni torikonde)

Translation: “Before these eyes wake up, possess me completely.”
Grammar: Again, ~ないうちに. 憑り込む (torikomu) is a stronger version of 取り込む, here with the nuance of “to take in and possess.”

Line 32: 狭い空ごと突き抜けてfalling (Semai sora goto tsukinukete falling)

Translation: “Piercing through the narrow sky and everything with it, falling.”
Grammar: ~ごと (~goto) is a suffix meaning “together with, including.” 突き抜けて (tsukinukete) is the て-form of 突き抜ける (tsukinukeru – to pierce through).

Line 33: 蜜の味二人ハマってくyeah (Mitsu no aji futari hamatteku yeah)

Translation: “The two of us getting hooked on the taste of honey, yeah.”
Grammar: ハマってく (hamatteku) is a casual contraction of ハマっていく (hamatte iku), progressive form of ハマる (hamaru – to get hooked on, to be obsessed with).
Cultural Note: 蜜の味 (mitsu no aji – the taste of honey) is a common metaphor for something sweet, tempting, and addictive.

6. Slang Glossary

足んねぇ (たんねぇ)

Usage: A very casual, often masculine, slang contraction of 足りない (tarinai), meaning “not enough.” It carries a rough or defiant nuance.
Appropriateness: Use only with close friends. Inappropriate in polite or formal settings.
JLPT Level: Not on JLPT, but common in casual speech and media.
Examples:
- まだまだだ、全然足んねぇよ！ (We’re not there yet, it’s not nearly enough!)
- 時間が足んねぇから、急ごう。 (We don’t have enough time, let’s hurry.)

~じゃん (~jan)

Usage: A sentence-final particle used in casual conversation, primarily in the Kanto region (including Tokyo). It’s used to state something as a fact the speaker assumes the listener also knows, similar to “…, right?” or “innit?”. (Implicit in some lines’ tone).
Appropriateness: Very common in casual speech among all genders and ages, but avoid in formal writing or speeches.
JLPT Level: N3 (often introduced as a feature of casual speech).
Examples:
- これ、美味しいじゃん！ (Hey, this is pretty good, isn’t it!)
- 昨日言ったじゃん。 (I told you yesterday, didn’t I?)

ハナから (はなから)

Usage: A slang term meaning “from the very beginning” or “from the outset.” It’s a more emphatic and casual version of 最初から (saisho kara).
Appropriateness: Casual conversations among peers.
JLPT Level: Not on JLPT.
Examples:
- ハナから無理だってわかってた。 (I knew it was impossible from the start.)
- 彼はハナからやる気がなかった。 (He had no motivation from the get-go.)

二人ぼっち (ふたりぼっち)

Usage: Means “just the two of us, alone together.” It’s derived from 一人ぼっち (hitoribocchi), which means “all alone.” While hitoribocchi has a lonely nuance, futaribocchi often has a romantic or intimate feeling of being in a world of one’s own.
Appropriateness: Used in both casual and literary contexts.
JLPT Level: Vocabulary related to N3/N2.
Examples:
- 世界に二人ぼっちみたいだね。 (It’s like we’re the only two people in the world.)
- 親がいなくて、弟と二人ぼっちで暮らした。 (My parents weren’t around, so I lived alone with just my little brother.)

7. Grammar Appendix

~てみる (te miru) – To Try Doing

Rule: Verb て-form + みる (or みます, みたい, etc.).
Meaning/Function: This pattern indicates trying something out, often to see what it’s like. It implies an experimental or tentative action. In the song, 「踏み越えてみた」 shows the decision to “try” crossing a line, highlighting the experimental nature of their transgression.
JLPT Level: N4 review, but essential for N3 fluency.
In this song: Appears once as 「踏み越えてみた境界線」 (The borderline we tried to step across).
Additional example: このケーキ、美味しいかどうかわからないけど、食べてみよう。 (I don’t know if this cake is good, but let’s try eating it.)

Passive Voice: ~(ら)れる (~(ra)reru)

Rule: For Group 1 verbs, change the final ‘u’ vowel to ‘a’ and add れる (e.g., 追う → 追われる). For Group 2 verbs, add られる to the stem (e.g., 食べる → 食べられる).
Meaning/Function: Indicates that the subject is receiving or being subjected to an action. It’s used when the actor is unknown or unimportant, or to show that the subject is negatively affected. In 「追い立てられて」, the focus is on the speakers being acted upon—they were driven out.
JLPT Level: N4 review, crucial for N3.
In this song: Appears once as 「追い立てられてこんな次元へ」 (Driven out into a dimension like this).
Additional example: 電車で足を踏まれました。 (My foot was stepped on in the train.)

~かと思えば (~ka to omoeba) – Just When I Thought…

Rule: Plain form verb/adjective + かと思えば.
Meaning/Function: Expresses that something unexpected happens right after something else. It emphasizes surprise and a quick turn of events. Used in the song to show the dizzying transition from waking up to suddenly “falling into the sky.”
JLPT Level: N3.
In this song: Appears as 「かと思えば空に落ちて行く」 (And just when I think that, I’m falling into the sky).
Additional example: やっと静かになったかと思えば、また赤ちゃんが泣き出した。 (Just when I thought it had finally gotten quiet, the baby started crying again.)

~ないうちに (~nai uchi ni) – Before (Something Happens)

Rule: Verb ない-form + うちに.
Meaning/Function: This pattern expresses the idea of doing something before a certain state changes. It often carries a sense of urgency. The song uses it twice in the post-chorus to create a feeling of seizing the moment before the magic fades (“before this blood cools,” “before these eyes wake up”).
JLPT Level: N3.
In this song: Appears twice: 「血が冷めないうちに」「目が醒めないうちに」.
Additional example: 雨が降らないうちに、家に帰りましょう。 (Let’s go home before it starts raining.)

8. Short Practice Set

Question 1: Listening Discrimination
Listen to the first line of the chorus (0:46-0:50). What particle or suffix follows the word 「螺旋状」 (rasenjou)?
a) で (de)
b) を (o)
c) に (ni)
d) へ (e)

Question 2: Thematic Interpretation
The song repeatedly uses the imagery of “falling” (堕ちてゆく). Is this “falling” portrayed as a negative or positive experience? Support your answer with at least two lines from the lyrics.

Question 3: Grammar Identification
Find the line in Verse 1 that uses the passive voice. Write the line and explain what it means and why the passive voice is used here.

Question 4: Vocabulary Application
Use the slang term 「ハナから」 (hana kara) in an original Japanese sentence about studying for the JLPT. Then translate your sentence to English.

Question 5: Cultural Reference
The song references 「林檎の木の下」 (under the apple tree) and 「蛇に睨まれた」 (stared down by the snake). Explain what story these phrases refer to and how they set the theme for the entire song.

Question 6: Production Task
Rewrite the following casual line into a more polite (です/ます) form: 「鬼も仏もおんなじ目」 (Oni mo hotoke mo onnaji me).

Answer Key:

Answer 1: c) に (ni). The line is 「螺旋状に堕ちてゆく」, where に indicates the manner or state of falling.

Answer 2: It is portrayed as a positive, liberating experience. One line is 「いつの間に傷が埋まってく」 (Before I knew it, the wounds are healing), which suggests that this “fallen” state is actually a place of healing. Another is 「むしろ追い風さ」 (In fact, it’s a tailwind), showing that what should be negative judgment is actually helping them move forward.

Answer 3: The line is 「追い立てられてこんな次元へ」 (Oitaterarete konna jigen e). It means “Driven out into a dimension like this.” The passive voice is used because the subjects (“we”) are not acting; they are being acted upon. They were forced out of their previous world (Eden) by an external power (God).

Answer 4: Model sentence: 「N1の文法は難しすぎて、ハナから諦めていたけど、もう一度挑戦してみる。」 (N1 grammar is so hard that I had given up from the very beginning, but I’m going to try challenging it again.)

Answer 5: These phrases refer to the biblical story of Adam, Eve, and the Serpent in the Garden of Eden. Adam and Eve ate the forbidden fruit (often depicted as an apple) after being tempted by the serpent. This sets the theme of the song as a story of transgression, being cast out of paradise, and finding a new reality in the “fallen” world.

Answer 6: 「鬼も仏も同じ目でございます。」 (Oni mo hotoke mo onaji me de gozaimasu.) or more standardly, 「鬼も仏も同じ目をしています。」 (Oni mo hotoke mo onaji me o shite imasu.)

9. Production Activities

Activity 1: Rap-Along Practice (Speaking/Pronunciation)
Goal: Improve pronunciation, rhythm, and flow by mimicking R-Shitei’s rap.
Instructions:

Choose the first four lines of Verse 1: 「あの日林檎の木の下共犯で / 踏み越えてみた境界線 / すぐに black out「ああお怒りで」 / 追い立てられてこんな次元へ」.
Listen to this section 5 times, reading along.
Focus on the rhythm and how words are linked. Notice the sharp, percussive sounds.
Try to rap along with the recording 5-10 times. Don’t worry about being perfect; focus on the flow.
Challenge: Record yourself and compare it to the original. Can you match the cadence?

Activity 2: Personal Response Writing (Writing/Grammar Application)
Goal: Apply vocabulary and grammar from the song to express your own thoughts.
Prompt: The song describes a “fallen” world that is chaotic but also healing (「ごった煮で」, 「傷が埋まってく」). Describe a time or place where you felt like an outsider but eventually found comfort or belonging.
Requirements:

Write 3-5 sentences in Japanese.
Use at least 2 vocabulary items from the song (e.g., 境界線, どこまでも, ごった煮).
Use at least 1 grammar pattern from the appendix (e.g., ~てみる, ~うちに, ~かと思えば).
Write in casual register (plain form).

Activity 3: Creative Extension (Creative Writing)
Goal: Demonstrate deep understanding by continuing the song’s narrative.
Choose ONE:
Option A: Write a “Response” Verse

The song is from the perspective of the “fallen.” Write a 4-line verse from the perspective of someone still in “Eden,” looking at those who have fallen. What do they think or feel?
Use at least 3 words or concepts from the song (e.g., 林檎, 境界線, 堕ちてゆく).

Option B: Describe the “Skyscraper World”

The chorus mentions falling toward a 摩天楼 (skyscraper). Write 4-6 lines describing what life is like in this new, “fallen” world. What are the rules? What do people do?
Try to match the song’s chaotic yet liberating tone. Use the word ごった煮.

10. References and Suggestions for Further Practice

1. Research Cultural References
Deepen your understanding by researching the biblical story of “The Fall of Man” (失楽園, shitsurakuen). Read a summary of Genesis, Chapter 3. How does knowing the original story change your interpretation of the song’s lyrics?

2. Explore More by This Artist
If you enjoyed this song, try these others by Creepy Nuts:

よふかしのうた (Yofukashi no Uta): The song that inspired the manga and anime for which “堕天” is the opening. It’s the ending theme and shares the theme of the allure of the night.
Bling-Bang-Bang-Born: Another massive hit with incredibly fast and clever rap, used as an anime opening.
のびしろ (Nobishiro): A more introspective and motivational song with a slightly slower, but still lyrically dense, style.

3. Find Similar Songs
Based on this song’s style (hip-hop with strong narrative/thematic elements), you might enjoy:

King Gnu – “白日” (Hakujitsu): A song with complex lyrics, a mix of singing and rap-like delivery, and a dark, dramatic theme.
Kenshi Yonezu – “LOSER”: Features a blend of rock and hip-hop with lyrics about feeling like an outcast and finding one’s own path.

4. JLPT N3 Connection
This song reinforces these specific JLPT N3 areas:

Grammar: Passive voice (~られる), ~てみる, ~かと思えば, ~ないうちに.
Vocabulary: Words related to abstract concepts (境界線, 螺旋状) and emotional states.
Listening: High-speed listening comprehension, discerning particles and contractions in fast speech.

Review these grammar points in your textbook, then return to the song to hear how they are used in a fast-paced, authentic context.

11. Teacher’s Note

For Teachers and Tutors: How to Use This Material

Document Design:
This guide is designed for self-study or as a classroom activity for JLPT N3 learners. The song’s speed and lyrical density make it challenging, so it’s best suited for students at the higher end of N3 or those looking for a challenge.

Recommended Sequence:

Pre-class/Homework: Assign Section 3 (Pre-Listening) to prime students.
Class Time:
- Do the listening tasks (Section 4) together. The gap-fill can be a fun, competitive activity.
- Go through the Line-by-Line Commentary (Section 5) as a group. Pause the song frequently. Ask students to paraphrase the meaning of lines in their own words (either in Japanese or English).
- Discuss the cultural background (Adam & Eve). This is crucial for understanding the song’s metaphors.
Practice: Use the Practice Set (Section 8) for pair work or as a short quiz.
Production: Assign one of the Production Activities (Section 9) as homework. The creative writing tasks can produce excellent portfolio pieces.

Differentiation:

Struggling students: Focus on the chorus and pre-chorus, which are slower and more melodic. For the verses, focus on just identifying key vocabulary rather than understanding every grammatical nuance of the rap.
Advanced students: Challenge them to analyze R-Shitei’s rhyme schemes and rhythmic patterns. Have them compare the themes in “堕天” with its companion song, “よふかしのうた.”

Cultural Sensitivity Note: The song uses Christian mythology as a literary motif. It’s important to frame this as a symbolic reference for artistic purposes, exploring universal themes of temptation, rebellion, and finding belonging, rather than a direct religious commentary. The focus should be on how the story is used to craft the song’s narrative.