• 偶像になにを歌わせるのか？(critique de jômon seichi junrei)
• "les livres proposent aux lecteurs de s'immerger et de se plonger dans des mondes imaginaires et offrent la possibilité de créer un lien social ainsi que le calme apaisant de devenir une partie de quelque chose de plus grand que soi, pour un instant précieux et éphémère."
• Though, what with this, “Aka” from The Insulated World, and what Kyo has said before in interviews about love and his sense of identity in connection with “Ranunculus”, I get the impression that perhaps, if he did accept love, he wouldn’t be Kyo, neither as we know him (as enigmatic as he is) or as he sees himself. As if he believes himself to be a wanderer through or of his own darkness, seeking the light but perpetually unsure of what it would bring him. Might be a bit audacious to say, but maybe it should be said anyway. /// I don't think Kyo believes in love. He believes in the beauty of an almost fully-blossomed flower who failed to flourish at the very final second. He sees the ultimate truth in the sublime beauty of the rejected, unrequited, and despaired. His worldview affects me so deeply... I no longer believe in love.
• I appreciate Kyo’s multi-layered depth, his unpredictable side that leads to constant growth, but also his trustworthy core with its strong principles. His brutal honesty.(deadtree)
• I could rant forever about Kyo so I'll try to be brief:

- In 2001 he released 自虐、歛葬腐乱シネマ (jigyaku, rensou furan cinema), his first poem book.

Bundled with it was 第三帝国楽団 (daisan teikoku gakudan), from which the original version of this song came. (http://www.crysania.com/tattered/lyrics_kyo.html)

- In 2004, he released 前略、お元気ですか。最果ての地より名も無き君に愛をこめて・・・ (zenryaku, ogenki desu ka? saihate no chi yori namonaki kimi ni ai wo komete...) ((please just call it zenryaku lmao)) and the CD 腐乱シネマ帝國楽団 (furan cinema teikoku gakudan).

OKAY so now that you have a baseline history, let me answer your question.

-- 304 goushitsu, hakushi no sakura is the song as you know it -- gauze. delicious. yes.

but considering the poembook CDs, there're three other versions -- two from "jigyaku" and one from "zenryaku". there seems to be a trilogy, in order:

304 goushitsu, [haha to sakura] and 304 goushitsu, [shita to yoru] (jigyaku) -- then 304 goushitsu, [haru to boku] (zenryaku).

to quote my favorite translator (krist.): "The first seems to be about the patient's more lucid moments, staring out of a window at the cherry blossoms. The second poem – !!this one, in other words!! – showcases the descent into grief and madness. The third poem is the mother's grief for her dead son." it's worth noting that the lyricism has changed a bit from the older version. of course, kyo is notorious for changing his lyrics as he sees fit, which is why I cry forever because I can't find a subbed vulgar

fukai performance... but alas!! sorry for wall of text I'm just super passionate about this

• This is moving and i feel humility, love and respect to see people seemingly looking at me from over a hundred years ago. The young mother at the beginning especially who changes her course to come closer to look at the camera touched my soul. I think time doesn't exist. Everything is only a perpetual redistribution and repositioning of atoms but atoms don't age. One hydrogen atom that was once part of the body of an ancient emperor later may have been water in the sea, then later part of a fish, then that fish eaten and the same atom a part of another person. It is still the same atom and the time never changed because all the existing atoms do not age. There is a flow of energy, not time, that continually rearranges atoms, but time itself literally does not exist. This video is now. (commentaire sur une vidéo de prises de vues de tôkyô 1913-15)
• Sommes-nous condamnés à errer dans les profondeurs de notre pensée qui cloisonne tout pour pouvoir imbriquer ses concepts ? (Sophie h., commentaire sur un forum de philosophie, 2012)