Released in 2019, this album is considered a companion album to the 2017 Barbara Dwarf Star Child Apocalypse. Unlike previous releases of original Seazer work presented as Utena-adjacent, this album features performances by individual singers mostly, eschewing the usual choral lyrics in his work. This gives the album a very particular and unique sound. Tracks like Absolute Libra Egg and Orpheus Cavern Theatre experiment a bit with auditory landscapes around single singers, but the distance from the familiarity of Seazer's chorus makes this album more challenging than his other image albums.

The cover was 'supervised' by Ikuhara, and done by artist Amakishiyon. It features two girls in a bizarre room full of alchemical references. Unlike the previous album, these figures aren't obviously Utena and Anthy.

People who purchased the album through Japan's large Diskunion website were treated to a bonus disc with three extra tracks as listed below. These are live recordings of the original iterations of songs from the series as performed by his theater troope: 'Theater Laboratory - Universal Gravitation' [Engeki jikken-shitsu - ban'yū inryoku].

These liner notes are translated by Ayu Ohseki. Thank you so much!

The Timbre Folk Movie (Neirofuga) Experimental Prayer Room World of a Man who, through Alchemusic, Attempted to Craft Not “The Philosopher’s Stone” but “The Philosopher’s Song”

Hermes, the father of alchemy; Cagliostro, an Italian alchemist; Gerbert d’Aurillac, a magician who borrowed the power of a demon and subsequently rose to the position of Roman Catholic Pope--all of them are her fathers. But then, Alchemistic Girl Medieval (I thought up various girls’ names but never came up with a good one, so I decided to play it straight and name her for the Middle Ages, or in other words, Medieval) has hundreds upon hundreds of fathers: the philosophers, inventors, astronomers, doctors, painters, architects, cooks, magicians, esotericists, and even con artists of the Middle Ages. She observes all things from all angles. She dissects and interprets all things independently. She stores (like an electric charger) “that which is real and true” of all things inside her body, and she surveys every era from its end. All in all, a totally normal young lady.

That young lady, the Alchemistic Girl Medieval, is a time traveler. Just like the Comte de Saint-Germain clad in red, she’s appeared right now in present day, present time. That’s the setting I tried composing for this time around. However, the flow drifted away in an unexpected direction. I found myself in automaton fantasy worlds called “Orpheus’s Cavern Theatre,” “Tales of the Bronze Figurine Actors,” and “Person-Puppet,” and they appeared the instant I touched an era of abstinence and lust where order and disorder had been jumbled together, namely, “Middle Ages eroticism.” Maybe it was unwise of me, but they were so interesting I crafted them into song as they appeared. Ultimately, it seems I ended up with a composition focused around not an instrumental quartet but an instrumental world quartet of “Alchemistic Girl Medieval,” “Middle Ages Eroticism,” “The Imagined Automaton-World,” and the fantasy picture scroll story called “Strife of Love in a Dream”: namely, the “Middle Ages Fantasy Romanesque Instrumental World Quartet.”

Good grief. In the course of writing, I feel like I ended up discombobulated by my own imagination… Basically, what I mean is… All of a sudden, dark clouds manifest in a clear blue sky and split, and from that split appears Alchemistic Girl Medieval with several hundred armored knights astride armored horses in tow. Those visible deep within that split are, namely, the philosophers, inventors, astronomers, doctors, painters, architects, cooks, magicians, esotericists, and even con artists of the Middle Ages. I would converse with myself, like so:

“I’ll work in E key. Instead of guitar, I’ll use mixed brass, lutes, harpsichords, clavinets, oboes, bassoons… There’s no getting around using drums for several songs, but I want to try fundamentally using timpani drums, as in the drums are just for the kick, with timpanis filling in for snare drums, plus some obligato and ad-libbing.”

“So in short, we could call it a sound that lets one imagine the fanciful music called ‘Middle Ages rock’?”

“I’m consistent like that… but… I always do that, huh… I always have that in mind, but it never quite turns out the way I pictured it…”

“Do we not have enough time?”

“No, the problem is a lack of talent, I’m sure…”

…and so on… Now then, setting such dialogue aside, it seems «The Time of “Exhaustive Experiments” and “Agony Experiments” for the Arrival at an Image» will keep on keeping on this time around too.

Also this time around, I didn’t use any vocalists from the Ban’yuu Inryoku [lit., Universal Gravitation] choir. Basically, since I was working with the image of the Alchemistic Girl in mind, I challenged myself to use girlish guest vocalist solos, girlish guest vocalist solos and sopranos, soprano choruses, and mixed choruses.

- June 2019, J.A. Seazer

<- Diskunion Bonus CD