This page will be dedicated to discussing Buck-Tick's efforts concerning the meaning behind their work, rather than the musical composition.
All Buck-Tick lyrics on this page were translated by Cayce's NOT GREATEST SITE. Please use the Internet Archive's Wayback Machine to visit her translations at notgreatestsite.net or visit Kame's NGS archive at This is NOT Greatest Site. We miss her dearly and honor what she left for us.
Buck-Tick has always been a political band to at least some degree. They may not be ultra-goth-punk-1000% type political (which is even debatable since they've wrote an entire album called "(If nothing else--) Or Anarchy" and all the members have been extremely influenced by goth music), but Atsushi has discussed time and time again how we are all partly responsible for the violence that goes on in this world and that it is our job, as members of the human race, to educate ourselves and stand for change. Even though they've usually succumbed to the pressure to censor a lot of their points and have even strayed away from talking about politics at all at times (due to the excrutating pressure on Japanese musicians to stay silent and basically pretend everything in the world is perfect), they've always made political songs.
One of their most prominent points is that they are extremely anti-war and have been advocating for peace since the beginning of their careers. Some of their most obvious anti-war songs I can think off of the top of my head are Rakuen, Guernica no Yoru, and Muchi no Namida, Revolver, and Sayonara Shelter.
Rakuen (Inori Negai) (Paradise (A Prayer and a Wish)) is about (the obvious and non-analyzed version that doesn't include esoteric symbolism and a Buddhist concept as the main theme) the Middle Eastern wars taking place in 1995 and how people would willfully remain ignorant of them, or even worse, pretend to care when they really didn't. The song calls the country being attacked, "paradise," and, "the land of love." For what's more, he then says that, "God's children kill each other in this garden of love." He's always been one to highlight the absurdity of war, responsibility we should all be held to fight against, and the importance of asking why on Earth people hurt each other.
Rakuen is also particularly special in Buck-Tick's history. When Rakuen was first released (and it was just called 'Rakuen'), it was released with an ethnic melody to emphasize the beauty and loss of the Middle Eastern wars, as well as a section in the song where they had somebody read the Quran. The Muslim community of Japan found this offensive, and they either contacted Buck-Tick or the members ended up hearing it by word of mouth (I can't remember). In response to hearing that their song that was literally meant to spread love and awareness was found offensive by the exact community they were trying to uplift, they immidiently took all of the copies of that single off the shelves, rereleased a new singer with a hard-rock melody instead (for collectors, I presume), and then released the ORIGINAL ethnic melody version on their album without the Quran reading. I find this story absolutely beautiful; it's not often AT ALL that artists actually acknowledge their mistakes, let alone fix, learn, and improve from them. I LOVE YOU BUCK-TICK!!!
The comment Atsushi made by calling people "God's children" wasn't just for the religious aspect, but also because he usually mentions children when discussing war or tells the stories of war through children's perspectives. In fact, in all the songs I mentioned above, children are involved.
In Revolver, he sort of takes persona of a general. He says, "Shoot through those bastard's heads, shoot through that child's prayers, shoot through that child's hope, shoot through that child's future, shoot it!" I absolutely adore the way he tackles this sort of thing. Children are the ultimate metaphor for purity and innocence; the millions of children being affected by war are being punished for the feuds between their country, not their own sins.
In Muchi no Namida (Tears of Ignorance), he tells the story of a world around him from the perspective of a confused child. The first lines are, "A teddy bear, a pumpkin coach, slow-dancing in the freak show / Fighter jet planes soaring round the room, slow-dancing with the girl / Little girl's got a machine gun". He asks in the middle of the song, "Where is mama? Where, where did she go? The demons, they're slow-dancing / Never falling, the tears of ignorance, the girl with the beautiful hair yeah / Little celluloid girl yeah". So, yes, the girl is witnessing the world around her and is really fucking confused and really fucking scared.
They next song I'll mention is Guernica no Yoru, which might sound familiar. Guernica was a ginormous anti-war mural by Pablo Picasso depicting the suffering of the people and animals struck by a bomb. The name is an obvious sentiment to the town of Guernica, located in northern Spain. Guernica was bombed by the Nazis and Italian Fascists leading up to the second world war.
In Guernica no Yoru (Night of Guernica), Mr. Sakurai tells the tale of a little boy in the movie theatre with his brother—with no snacks, for lack of money—watching a movie after having lost his mother to war. As they're watching the film, the theatre gets struck by a bomb. This song is extremely personal to Atsushi for a number of reasons, one of which being the fact that the boy in question heavily resembled his childhood self. In the backdrop during lives, he wore the same uniform young Acchan did, also had a brother, Atsushi also lost his own mother and father when he was very young (the father, though, was definetly for the best), and so on. The idea to be in a movie theatre was also a reference to when he was in the only movie theatre in town with his own brother as a kid and watched Benji, followed by The Clocks Were Alive.
Lastly, I feel like I have to mention Sayonara Shelter. It was one of the last songs Atsushi wrote before he died. He was incredibly enraged when he heard of the war between Russia and Ukraine in 2022-2023, so it was only a matter of time before he wrote about it.
He was inspired to write Sayonara Shelter (Goodbye Shelter) after seeing a video of a young girl singing the Ukranian version of Let It Go from Frozen in a bomb shelter to cheer up everyone around her. This song seems to depict a father (I think? I haven't analyzed this song and I definetly won't be any time soon. It makes me cry too much) telling his "princess" (daughter) to go hide in the war bunker because he, "has got to go off and kill somebody" (in reference to the many Ukranian men who would see their refugee families to safety and then return to the war to defend their homeland, meaning that they, too, are contributing to the horrible war they're suffering from). Rather than reading my horrible generalization of this song, I highly reccomend you go read Cayce's translation and notes on the song. It truly is a beautiful song. And if that didn't cry, watch Atsushi act out a father hugging his daughter and sending her off to the shelter and then praying as the bombs fall here. When they livestreamed this concert hardly even a year following Atsushi's death, I couldn't help sobbing when this song came on. At least watch from 2:25 to the end of the instrumental portion.
To tell war from the children being affected by it forces the listeners to acknowledge the horrors. He's saying not to look away; he's grabbing your face and shoving the children's tears right in front of your eyes. Instead of looking away, Atsushi says to look at all the horrible shit being done to innocent people and do something about it.
This calls to mind when he said in an interview discussing Guernica no Yoru, "It's presumptuous of me, but I hope that all those killed in wars will be returned to their mothers."
Tying in very closely to their anti-war beliefs, Buck-Tick have always made an effort to bring people together. They didn't name their management office Shaking Hands Inc. so long ago for no reason; it's all over their work. They've always talked about spreading peace and love, and their dedication to these has only become more prominent as years have gone buy. They released an entire album centered around this topic. Yume Miru Uchuu (Cosmic Dreamer/Dreaming Space/Other Dreamy-Universal-Cosmic-Baby-ALigning Names) was their 2012 album released heavily in response to the Tohoku earthquake. Buck-Tick summarized Atsushi's explanation of the title with, "at the time of beginning to work on the album, around October 2011, there was a lot of information regarding the state of Japan (due to the March 2011 Tohoku earthquake/tsunami aftermath) coming in through the eyes/ears and a lot of people saying goodbyes, so that sadness in space, an embryo connected by an umbilical cord to a star, sleeping peacefully, it's like that. Anything can be thought of, like a baby dreaming freely, that kind of image." When the world, especially their home country, was in shambles at the displacement caused by the aftermath of the disaster, Buck-Tick released an album envisioning all of "that big sadness in space, being Earth" as a baby sleeping in the cosmos. Is that not the most beautiful ever?
Yume Miru Uchuu's central theme is that we are all connected; we are all apart of the universal experience and cycle of life and death. We do not need labels or names or ego or countries or anything to feel connected with one another or help one another because we ARE one another. The world is a unified consciousness, one big ecosystem, and it only plays into the even bigger consciousness of the universe. I am you and you are me. We are one. We should all be helping one another, assisting one another, cultivating the land together. We should treat our peers, the land, our enemies, and everything else ever with utmost respect. We are all one. THAT is Buck-Tick biggest point. You might've noticed that the header on my index page says, "We love all." That's actually from their Yume Miru Uchuu tours, where Atsushi would yell that out. They also released merch that would say "We love all" or something similar, and named a tour "We Love All." They've been using the phrase ever since.
To put it in other words, Atsushi said in Kyokutou Yori Ai Wo Komete (From the Far East, Spread the Love), "Love your sorrowful enemy. Can you do it?"
Since I'm on the topic, I feel that I should mention that Kyokuto is another anti-war song. If I remember correctly, Mona Lisa Overdrive and Kyokutou I love you were originally going to be released as one big super album, but Buck-Tick felt that they had to say something after hearing of the falling of the Twin Towers. I beleive Kyokuto (the song) is in direct response to the event. In fact, at their second Climax Together concert—which was held on September 11—Atsushi asked everyone to put their heads down for a moment of silence in honor of the lives lost at the falling of the Towers. The only other time they did this was in 2012, in honor of the victims of the Tohoku earthquake/tsunami I mentioned earlier.
On top of that when Atsushi stopped censoring himself in 2015, we got a BUNCH of political content. Their post-2015 albums are my favorite because they're when Buck-Tick is at their nerdiest. Their 2016 album, Atom Miraiha No. 9 (Atomic Future No. 9) is a sci-fi-warning-esque album. The songs are mostly all set in post-war societies and display the aftermath of different catastrophic events. The album poses as a warning to us to straighten up our act or face the consequences. The album also calls us out on our responsibility for issues like overpopulation, global warming, and nuclear research. One of my favorite tracks to use as an example is the opening song, Cum uh Sol nu -Flask of Another Type-, written by Imai. The title is an anagram for Homunculus and refernces the old ways of cultuviating the little humans in alchemy in search of a greater power. He compares it modern nuclear research and asks the question, "Do we really have the right, as human beings, to research knowledge that could bring the end of the world—knowledge that is inherently searched for with intentions to obtain power?" So much of our curious efforts are rooted in the power to destroy. At the end of the day, this album is a warning
Their next release was their 2018 album, No. 0. Notice how the numbers complete a full cirlce in terms of rebirth? This ablum is extremely experimental and ambitous musically, but that's not what I seek to highlight here. Honestly, this album is so conplex that I'm too scared to discuss it in detail, but this album is also heavily about war. This was actually the album that Guernica no Yoru was released on: the ballad about the suspiciously Sakurai-esque kid that got hit by a bomb in the movie theatre talking about how we're all responsible for the violence in the world. I think that's a good intro to the album for anyone curious; I don't have the confidence to talk much about it here with how damn esoteric Buck-Tick's references are, but the cycle of life and death and the question of why people hurt each other is very present here.
So, yes, Buck-Tick is very political. Most fans just turn a blind eye to it (in direct contradiction to what he asks for us to do). They also wrote an entire album called "Arui wa Anarchy", which technically translated to "Or Anarchy", but is implied to mean "If Nothing Else, Anarchy" and is a surrealist concept album.
I know I've written a lot already, but I feel the need to mention that Buck-Tick have always been very supportive of queer people. This fact just makes me happy. And, no, I don't mean they're supporitve because they did a lot of fan service in their early years—so many people say that about artists who are, in fact, extremely homophobic. This is not the case for Buck-Tick. In fact, Atsushi has said a lot of things that have make a lot of fans suspicious. He's kissed a lot of different men on stage, talked about one of his good friends, Issay (who was openly queer, I believe), VERY suspiciously, also acted out having gay sex with Issay in 1995 (???), wrote the entire fucking song Hizumi (a song about a trans woman killing herself) AND heavily based the character after himself, SAID IN AN INTERVIEW THAT HE COULD DEFINETLY LOVE MEN/MAYBE BE TRANS (??????), and Cayce said back in 1991 he explicity stated that he had, "loved men before" but the link is broken so I can't fact check that.
The members have also always been just... a little rebelious when it came to gender roles. Of course they've been wearing makeup and stuff since the 80's, but I don't count that since there's loads of musicians who wear crazy makeup and end up being homophobic/sexist douchebags. The Buck-Tick members are generally just very rebelious when it comes to gender roles. Both of the guitarists and huge cooks and... everyone but the Higuchi brothers have worn skirts and high heels... all the time... and all the members have had long ass hair... and Atsushi was always called a woman in the 90's... and he got EXTREMELY feminine in his old age (said he harbored and "ancient femininity of Japan" which he absolutely did, started wearing booty shorts, thigh-high stockings, fishnets, garter belts, and slitted skirts in his 50's). So there's just a lot of little things that make it hard for me to think they could ever be sexist or homophobic in any way. They love all!!!!!
I think the best way to start this off is with what I said in the Politics section:
Yume Miru Uchuu's central theme is that we are all connected; we are all apart of the universal experience and cycle of life and death. We do not need labels or names or ego or countries or anything to feel connected with one another or help one another because we ARE one another. The world is a unified consciousness, one big ecosystem, and it only plays into the even bigger consciousness of the universe. I am you and you are me. We are one. We should all be helping one another, assisting one another, cultivating the land together. We should treat our peers, the land, our enemies, and everything else ever with utmost respect. We are all one. THAT is Buck-Tick biggest point. You might've noticed that the header on my index page says, "We love all." That's actually from their Yume Miru Uchuu tours, where Atsushi would yell that out. They also released merch that would say "We love all" or something similar, and named a tour "We Love All." They've been using the phrase ever since.
So, yeah. Buck-Tick has always written about the most potent themes of life: how we are connected, and how we express that and our feelings towards love and death. To quote Cayce:
Second of all, using the same words doesn’t necessarily amount to saying the same thing. The fact is, there are a limited number of words in any language, particularly for big concepts. And the more you try to search for synonyms for big, huge, one-syllable words like “love” and “death”—“adoration,” “ardor,” “infatuation,” “admiration,” “demise,” “expiration,” “ending,” etc.—the further you get from the heart of the meaning, and the more you sound like rather than trying to convey something deep and serious, you’re just indulging in masturbatory meretricious sesquipedalianism. Third of all, some themes are so fundamental, so universal, that there is really no limit to how much you can talk about them and still have something to say—love and death (Sakurai’s two favorites!) are the biggest two. Furthermore, once you start thinking seriously about things as big as love and death, everything else really starts to seem like cake sprinkles, or “the flowers of grass,” to borrow an older phrase. Songs about say, being relieved to get to school on time, or about taking as many tequila shots as possible, just can’t compete. Not to say that more lighthearted songs don’t have merit, but they’re just not in the same category.
Again: so, yeah. Again and again, Buck-Tick have always been writing about love and death and human connection. PLEASE TO GOD go read that article I just linked. It may be long, but I promise it'll do you some good. I would much prefer you read that analysis over mine right here. If you're really just terribly impatient, I guess you can stay... sigghghhhhhhhh...
In pretty much every release, the dread of mortality and human interaction has followed Buck-Tick. Even in their earlier releases, such as Seventh Heaven and Taboo (I really don't have anything to say about Hurry Up Mode or Sexual XXXXX!), they have always been talking about humanity. The name of my website, Angelic Conversation, is actually from Seventh Heaven. They may have been inexperienced when they wrote it, but it's a beautiful example of that loving feeling they had before they even realized it.
I know I sound like a broken record, but there's no other way for me to put it. Love, death, and connection are Buck-Tick.
One song worth mentioning is Cosmos, from Cosmos (it's the title track). Atsushi has always loved this song, and it has the perfect "in love with the world" Buddhist appreciation that Buck-Tick has always worked to convey. They actually included a sample of Atsushi singing it in the new single, Mabushikute Mienai, a sort of goodbye song to Atsushi, reflecting his belief that you should always live happily and never forget the good memories. If you want to cry, go read the lyrics here.
Although I could probably talk about them and love, death, and connection for hours (and have before), I just REALLY want to encourage you to read Cayce's article from earlier instead. She says everything 10x better than me. Maybe visit my analysis of their song Die in my blog on my main website.. wink...
Disclaimer-ish: Buck-Tick's artistic references are almost always to reimagine/explore a concept and then to convey it. Since this section is focused on the references THEMSELVES, I don't feel obligated to explain the MEANING of the references because that would lean into more political/philosophical grounds. This is a very sporadic and random listing of various times they've discussed the arts.
Buck-Tick have been extremely inspired by fine artists of many kinds throughout their career. Imai and Sakurai are the ones who particularly enjoy learning about the great masters.
Firstly, Atsushi is a fan of MANY painters. Buck-Tick Zone cites some of his favorites as Taro Okamoto, Salvador Dali, Gustav Klimt, Egon Schiele, Marc Chagall, and lots of others. Gustav Klimt's painting, Goldfish, was actually the limited edition cover for Yume Miru Uchuu (which is VERY fitting). Several of these painters are notable for their use of more mystical and "metaphysical" topics they've focused on, which ties in quite well with the fact that their single for Arui wa Anarchy was titled Metaphysical Meteor.
Arui wa Anarchy was also a surrealist concept album. (Speaking of their albums, they mentioned Charles Baudelaire here in a song called Baudelaire de Nemurenai (Baudelaire Won't Let Me Sleep). They named their 1990 album after his famous poetry book, although that was probably do to Atsushi's influence more than anyone else's, and this song was written by Imai. In the song with Baudelaire in the name, they mentioed another famous author, Arthur Rimbaud.) If you didn't know, Atsushi and Imai are both very big on surrealism, anarchy, dadaism, etc. Rather than restating what Lola has already said, I encourage you to read the translation notes for Arui wa Anarchy here.
As expected, there's lots of surrealism, dadaism, general history/art history, literature, some Freudian theories, and a lot of random stuff like that.
I honestly don't know how to approach their appreciation for the fine arts. It's difficult to write a coherent log of all the times they've referenced stuff because they've made such an effort to reference so many things in so many songs. This section will be very random.
I guess I should mention that their 2005 album, Juusankai wa Gekkou, is a gothic concept album. It's basically the members saying, "THIS is goth." All of the members have been heavily influenced by gothic music of some sort, and Atsushi's always been a huge goth himself (although he doesn't really like confining himself to such labels). 2005 was a special year for a multitude of reaons (no, not because that's when Romance came out.) This is when they first used the Tchaikovsky's Swan Lake ballet theme (speaking of more classical music, their song Elise no Tame ni (Rock for Elise) is a reference to Beethoven's Für Elise (For Elise). Since I'm already here, I might as well mention that Imai referenced Dali in the song, mentioning "melting clocks".) at the beginning of their Kirameki no Naka de lives. The stage play for the tour was also VERY theatrical; the props, costumes, and general atmosphere was otherworldly. In fact, for this concert and this concert ALONE, they hired a real ballerina and clown to tour with them. The stage play with these two was actually based off of a Russian ballet called Petrushka. For more information on that, read Cayce's post.
In their album Memento Mori (Latin for, "Remember that you have to die," and was an extremely popular idea around the 16th to 17th century in Europe), one of the songs that always catches my interest is Lullaby III (yes, there are many Lullaby songs). Other than the generally theatrical way its performed, the song talks about Chagall (one of Atsushi's favorite painters, as I beleive I mentioned earlier) and Pierre-Auguste Renoir, another notable painter. The discussion of Chagall is where I think this would be a good transition point to talk about Buck-Tick's post-2015 work.
This brings to mind Cayce's comment on the Datenshi/Luna Park single:
"True to his word in the latest FT interview, Sakurai was clearly heavily inspired by the works of Marc Chagall, who painted just as many circus scenes as he painted flying blue lovers. But the circus and the parade have long been one of Buck-Tick's other central themes. If love is the rose at the center of the Universe, the circus is the way we should all be living our lives - in the moment, tasting, drinking, dancing, flying, feeling joy, not fearing what-ifs and worst-case-scenarios. Bubbles burst, but does that mean they're not worth enjoying while they last? This is an old, even ancient, Japanese literary theme, and personally, we think this may be one of Sakurai's greatest lifelong accomplishments as an artist - taking ancient Japanese literary themes and images and reworking them, in all their beautiful simplicity, into his own personal, heartfelt, immediately-experienced symbolic lexicon for the modern era, taking timelessness and making it timely., then timeless again."
So their little 2020 single was heavily inspired by Chagall. No surprise from the painter nerd himself.
But this section is going to be about their post 2015 work with references to fine arts, I'll just list some of their references. All of these were found by the gracious Cayce, as always!
The albums proceeding Abracadbra are even more packed with beutiful symbolism and refernces but Cayce didn't get the chance to write about them before passing and I don't think anything I find could ever compare to her knowledge and skills.
Here are some of Buck-Tick's sillier references:
Early references that were easter eggs more than anything:
Times Buck-Tick has refernced Disney-adjacent girls:
Here are some homages or refernces Buck-Tick has made to notable songs:
Anyway, everyone thinks of Sakurai as the big reader of Buck-Tick, but Imai is the one whose named several songs after novel characters/books in general. Here are some examples.
One of the difficult things with Buck-Tick is that they don't specify what they're referencing. This is TRAGIC when you realize how much niche ass symbolism they use, but it also just sucks because even when they're being slightly vague, you have NO IDEA what they're talking about because they're very educated people and could be talking about ANYTHING. In their song Melancholia (Arui wa Anarchy - 2014), they give no clues to what this is specifically referencing. Melancholia is a Albrecht Dürer, (melancholy was-) one of the four temperaments in Greek/Roman medicine, as well as the name of several popular movies. (I got all this info from Cayce though. No matter how much I admire knowledge, the journey to obtain it is terrifying. Everything is a process!)
So, yeah. I didn't get INTO anything here other than vaguely mentioning a couple things, but I'm hoping that's all I need to do to get someone worthwhile interested. (Sci-fi fans, you would love Buck-Tick!)
I also didn't get the chance to say this, but Atsushi studied the hell out of old Japanese poetry. I thought that'd be a fun fact to add, and it'd also make Buck-Tick make a little more sense.
Buck-Tick have mentioned a lot of musicians throughout their career (which I've made clear), but I didn't mention how they like to point out members of specific bands sometimes (Imai.) For example, Imai has written two songs with the name of a guitarist in the title: Django and Sid Vicious on the Beach.
The first thing that comes to mind when I think of Buck-Tick and theology is Buddhism. As you've probably read a million times, Atsushi studied the hell out of Buddhist beleifs and, although never religious, resonated heavily with the idea of appreciation for life; he was also fascinated with the idea of rebirth and nondualism.
Non-duality is something they've been exploring since Six/Nine, which Cayce calls a concept album on rinne and non-duality. They explore the fear of death, the call to suicide and madness, the possibilities after death, and the parallelism of the world around us.
Buddhism is one of those things that you can't stop noticing after you become aware of it. IN Six/Nine, in Cosmos, in Sexy Strean Liner, in Datenshi... EVERYWHERE!!!! THEY LOVE IT!!!!
Speaking of religion, they've also mentioned Christianity and Greek/Roman gods a lot. (Hell, the name of my site IS Angelic Conversation). They talked a lot about angels in Seventh Heaven/Tenshi no Revolver and in various biblical songs such as Babel, Cain, Salome, etc. They've also been known to use angels and devils as symbols for good and evil, but as Satan as a symbol for freedom and individuality. It makes sense, since Satanism took on his name for the same reason: he fought to be different and for his own good instead of conforming. I know Imai has talked a lot about the roles of good and evil in today.
And for Roman/Greek gods, it's the same as Buddhism. When you realize how much they love it, you'll never stop noticing it (Ikaros is one of their favorites to talk about).
History/art history is also something they love using. After all, we learn about history so as to learn from our past mistakes and illistrate human nature. I won't mention art history (that belongs in the fine arts section!), but some songs where historical context is important include include Maimu Mime, Cum Uh Sol Nu, El Dorado, Memento Mori (album), etc.
Most of the philosophical themes they cover are closely tied to religion (Why do we live? Why do people hurt each other? What makes me allowed to be happy when there is suffering elsewhere? Why should one not kill themself? Who decides where these lines are drawn?) because of their relation to death. Typically, while Atsushi provides an answer to the question he poses, he also likes to leave questions open-ended for the sake of self exploration and also because, once again, why does he have the right to answer these core-of-humanity questions? Usually, he doesn't say "THIS IS THE ANSWER!! EUREKA (see what I did there)!!!!" but says "here are many different options. now go explore yourself and your beliefs" (Of course, Imai does a lot of this too, but we all know Atsushi is the core influence here.)
There's also. gulp. all of Kejijou Ryuusei (Metaphysical Meteor) and here is something Cayce said about Doukeshi A that I thought was funny:
Where does the stage persona give way to the person? How to love yourself if the audience won't love you? Or what if the audience loves you but you hate yourself? Start digging into these lyrics just a little bit and you'll find they're a bottomless pit of philosophy. Oh yeah, and the "A" stands for Acchan-chan.
Honestly I'm too scared to say anything more about philosophy. Onto psychology!
Fun fact!! Their second Climax Together concert was called Devil and Freud! Also, Lola from Nopperabou theorizes that there might be some Freudian imagery in Arui wa Anarchy, and while there has been some talk of Acchan using Oepidous symbolism, the scenarios in which this is discussed unlikely unrelated to the idea at all.
Honestly, Buck-Tick just writes. It's been really hard for me to say, "THIS is philosophy and THIS is an art reference and THIS is biblical and THIS is historical.." I'm not a clipboard. They just write and they're smart enough to use these amazing concepts to convey beautiful and complex ideas, so pardon me if I sound vague.
They've discussed psychology less clinically and moreso explored human desire, sanity, and perception throughout their career. They have fun with songs about sanity, but start actually having things to say when it comes to love and death.
For example, sexual frustration due to a desire to completely morph into one being is something Atsushi has, oddly enough, stressed over more than once in Victims of Love and Miu. He's written about suicide an uncomfortable amount of times and his relationship with fans/his stage persona.
90's Buck-Tick was also special for their crazy youthful rowdy experinental vibe they had going on, and all the songs about drugs and living life on edge (they continued that in their old age, but a settled old man talking about living life will always be different from a 20-something-year-old on heroin)
All in all, they've explored a shit ton of topics, but it's hard to categorize any of them or summarize anything. You need to dig into individual albums/songs and their meanings to truly understand anything in the crazy Buck-Tick universe. This page is just something to let people know that they actually have shit to say, because I'm sick of extraordinary artists' best work getting thrown aside because the "masses" don't care about anything that isn't superficial.