![]() ![]() The fake accents actually detract from what is otherwise a clever song that plays off nursery rhymes. Again, the snarled “tea!” seems completely out of place with the other versions of Emilie’s voice (again representing the varying parts she imagines in her stage production). ![]() Time For Tea: Transitioning with the sound of gears and chiming clocks, the harpsichord is back in full effect, leaving one nostalgic for the violin Autumn built her name upon. I’m not fond of the seemingly out of place growl in the opening verse. For that reason, one might find this song a little repetitive or a reiteration of Opheliac’s primary message, but it stands alone well enough. ![]() If “Gothic Lolita” was the naming of atrocities and sentencing hearing, “Fight Like A Girl” is the justice system coming to dole out the punishment. Fake harpsichord heavy and layered with vocals representing a chorus of women, the song is catchy, if a little ridiculously man-hating. Like a Tarantino film, Autumn has chosen to begin near the end and rewind later. Can an album presented as a soundtrack and standard album all at once hold up for the average listener? Without further introduction, allow me to take you through FLAG.įight Like A Girl: The opening track, from which the album takes its name, is a battle cry slash summary of what the asylum inmates will face throughout the course of the album’s narrative. Musicals are a matter of individual taste: some love them, while others hate them (I, for the record, love them, particularly more modern/rocking/creative works like Spring Awakening and Rent). Presented as the soundtrack of the musical-to-be, Autumn takes her dramatic tendencies to a new level, embarking on a musical retelling of her book and performing all of the parts, both male and female. It is at this point where Fight Like A Girl comes in. Granted, her stage shows have always been heavy in theatricality, but the ambition to create a stage show proper as opposed to a dramatic concert experience is new. Perhaps inspired by working with Darren Lynn Bousman ( Repo! The Genetic Opera) and Terrance Zdunich on The Devil’s Carnival, Autumn has announced her intentions of launching a Broadway musical version of her book. Her autobiographical novel, The Asylum For Wayward Victorian Girls, is a hefty tome that runs parallel stories of Emilie Autumn checked into an asylum (and somewhat graphic journals about self-injury) and Emily, a young Victorian girl who is sold, used, abused and unjustly incarcerated in an asylum, where she literally winds up in a fight for her life who is, Lake House-style, leaving Emilie letters telling her story… or is she? It is by no accident that she sings so frequently of mental illness, suicide, trauma and asylums. ![]() It is also sad that most of her tour dates frequent other countries, but perhaps more recognition on our side of the pond will remedy that.For those who are long-time fans of Emilie Autumn, the personal nature of her music is well-established. It is somewhat disappointing that a woman of such exquisite beauty (her band mate Ulorin Vex designs her outfits), originality and epic nature were not frequently noticed outside of our morbid teenage population – hence our Listen article. If you feel the need to hear for yourself, check that out and I highly recommend tracks such as “The Art of Suicide” and “Misery Loves Company”, not to mention that very unique and somewhat haunting Queen cover. If you need more proof of her particularly dark tastes, her inspirations include noted violinist Nigel Kennedy, and her backing band is known as The Bloody Crumpets (at least it doesn’t reference Tampons).Ĥ o’Clock was placed on shelves in January of this year, and thanks to my new friend, Nicole Woods, I was recently introduced to her music via our favorite social networking site MySpace. Dubbed a “goth opera industrial” musician, she twists and turns through catacombs of synth, violin, drum beats, piercing voices and the ever-popular stage shows that have made her current residence of Chi-town much less shy. ![]()
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