Mothy – Evils Theater (II)

Evils Theater, tracks 3 and 4: The beginning of the Clockwork Lullaby

Kono utagoe wa zenmaijikake no komoriuta

In continuing our analysis of mothy’s first album, Evils Theater, it’s worth pointing out the tracks 3 and 4 were released individually before tracks 1 and 2.  In fact, these two tracks are mothy’s first and second works within the world of Evillious.  This being said, the identity of the singer and when the songs take place chronologically is still unknown, and will likely be among the last of the series’ revelations.  Because of this, this analysis will be rather short compared to the others.

“Kotoba Asobi” or “Wordplay”, given the alternate title of “Clockwork Lullaby 0”, was originally released 8 March 2008.  Listen to it here.  It uses electronic instrumentation, with Kagamine Rin’s voicebank.  Musically, it’s simple and melodic, with the most interesting point being that it lifts straight from Ode to Joy in the chorus, and in the song’s variant of “lu, li, la”.  (More on “lu, li, la” will be discussed later.)  Lyrically, it follows a girl in an unknown time and place, who sings about learning words.  She learns “father” and “mother”, “wind” and “water”, “dream” and “together”, and finally, “love”.  (To be exact, the Japanese words are haha, chichi, kaze, mizu, tomoyume, and ai.)  When she learns “love”, she knows the shape of the world.  She remarks that she still doesn’t understand how to put her feelings into words, and thus continues to learn.  She then learns “lies”, and “pain”, “crime”, and “punishment”, and finally, “evil”.  (uso, kizu, tsumi, batsu, and aku)  When she learns “evil”, she understands the darkness within the world.  Once again, she says she doesn’t know how to describe how she’ll feel “when you throw me away”.  She again asks how to express her current emotions, and tells an unknown party that she will always be with them, and teach them new words.  Throughout the video, the lyrics written on screen progress from poorly written hiragana to ornately written kanji, reflecting the singer learning new words.  It can be argued that the song represents a child growing up, living through adulthood, then having a child of her own.  However, the exact time and place these songs take place relative to the others is completely unknown.

“Zenmai Jikake no Komoriuta”, or “Clockwork Lullaby” was originally released on 22 March 2008, and can be listened to here.  Musically, it is faster and more aggressive than Wordplay, and somewhat discordant; it also uses a more complex melody.  It uses mostly electric instrumentation, with a real piano.  Lyrically, the song follows the same unknown character as in Wordplay.  She requests to be taught words, so she can make them into a song.  She tells an unknown party that he obtained the “one and only song of truth” from his imagination.  She sings “Lu li la” and asks to whom her voice will reach, before stating that she will use the “key of words” to “open the gates to the Unknown.”  She then says that she took a toy she always wanted and threw it out the window.  Questioning the desires and lack of satisfaction inherent in humanity, she tells them that if they’re tired, they should sleep.  She again sings “lu li la” and asks if her lullaby will heal the heart of the same unknown party as before, calling him “greedy-hearted” and that he’s stuck in a dream.  She sings again, calling her melody the “clockwork lullaby”, saying she’ll stop if she’s not wound.  She ends the song saying that all of the memories and traumas swirl around inside her.

There’s not yet much that can be said about these two songs, in spite of their density, because it’s unknown how they connect to the rest of the series.  The final line of Wordplay is mirrored in the opening line of Clockwork Lullaby, making it evident that they’re connected, and mothy has stated that the two songs are very important to the series as a whole.  This is also the first appearance of both the clockwork lullaby (“lu, li, la”) and its inverted form (“la, la, la, la, la, lu, lu, lu”), the former of which appears frequently within mothy’s works set in Evillious, with the latter appearing as well, albeit less often.  It shares an apparent connection to two songs that appear later on the album, and this connection will be discussed later on.

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