English: A Child in Time
Subtitles: 時の浜辺に記憶の月が昇る / On the shore of time, the moon of memory rises
Year: 1993
Writer:J.A Seazer, Akihiro Yonaiyama
Locations: Kichijoji Advance theatre
奉の长の炮僧
奉の长のツバナ
さあ朔や 玲く滩りましょう
朔やが邵媚に掐らないと
芭扒からよりどころから
航盟がやって丸て 朔やの誊短に
航を抨げ哈んでしまう
すると誊短が 缝派れになって
嘲に若び叫してしまうよ
すると航盟は その誊短を罗に低め哈んで
斌い 斌い 坤肠面で办戎斌い
染尸风けた奉の 奉に积ち耽り
极尸の灰丁に咯べさせるのよ
屉构かし灰丁に咯べさせちゃうのよ
ああ恫い だからさあ坎ましょ
おお恫い だからさあ坎ましょ
染奉零侯り航盟 染奉屉构かし航盟
染奉零侯り航盟 染奉屉构かし航盟
染奉零侯り航盟 染奉屉构かし航盟
奉の庚は痹い しおと篙瓢の缝の踩虏
挖かシルバ〖ム〖ン ム〖ン
りきどう欧蝗は简びたし
册殿の履欧蝗客を斧る
挖かイノセント笨炭の
迹烃の稍材墙 客だよと
塔奉の递甜が纪る奉も
球い灰丁を戴み幅う
稍宫赖挛すぐ炊步
无の蜕り隙じゅんざいしょう
倡く奉の奉开屉
东び轨く碍蒜のみ
部を毋えの慨赌に
倡くつきまぶしめろ
入泰の瞎郡 奉の赴
尉缄を弓げた 唉の缄も
踩虏の笨炭 踏梦の苹
はっせんひゃくきょうと 长の默
はっせんひゃくきょうと 稍蛔的の塔ち苞き
箕の岭 塔奉 奉の苞蜗
箕の岭 奉勿 赖しき钳
箕の岭 コスモス 嘿甩すいへき
箕の岭 奉谎 缝胞み彩池
糠奉 惧腹 塔奉 布腹
塔奉 布腹 糠奉 惧腹
论瓢 论瓢
论瓢 论瓢
奉の幌め 糠たに当く
奉逼の 话泣奉
蜕り隙 奉の隶
腹を惧にて 奉の叫
坷の递磨り
塔奉 司奉 浇皋屉の
边奉 咯骂 奉の踩
奉の掐りに腹は布
秽をつゆ 斧蔡てぬ
Skipping from 1990 to 1993. We have one of the few workshop performance (Which are not attributed Performance numbers in resources that list them), to have it's full score archived as a soundtrack.
A lot of shifts have occured by between King Lear and this performance. Internation performance have slowed down, there seems to be retention in production quality, towards a demo-like sound.
Which mostly arose for financial reasons, and I do have to mention that previous to this year, J.A. Seazer composed the Midori soundtrack. Which sound similar to this album and the new version
or Chronicle of the Plague Year; And his involvement in that could been a factor towards the suspension of grants. The more charitable intrepretation is that like a lot of underground artist,
J.A. was content to use the gear he can afford and retain, it was not neccessary for him to hold onto the relatively glossy productions of his 80s to early 90s works
As for music, because it's a workshop performance, and particularly one that was collaborating with Akihiro Yonaiyama, who lead a theatre company catered to deaf actors. The music was very
experimental, in other words, it a very weird sounding album. Instrumentally, the accopaniment and instrumentals lean toward shriller, percussive or thermein like sounds. A lot of vocal tracks
lean towards repeated ostinatos. As opposed to flowing, stanza based through composed style that people would generally associate with J.A. Seazer after this album. This isn't always the case
As the album a lot grittier passages, leveraging very twangy FM synthesis patches that would not sound out of place in a Mega Drive game, or industrial of times. Thought this use of FM synthesis
as crutch to compensate for the lack of power that sequenced, digital music tend to have. Would rear it's head in the next album