#GOTHIC LOLITA EMILIE AUTUMN FULL#

Not the best track of the album, but has some good parts. The third verse is just a very angry Emilie screaming “Are you suffering?” many times. Fortunately, the interesting harpsichord keeps it from being a total disaster. The verse and pre-chorus are good and catchy (“Angry-Emilie mode” activated), but the chorus is kind of lame (she just says “liar” again and again). ”Liar”: The song starts with a cool distorted violin before some goth/industrial arrangements kick in. A nice song that serves as a break from the drama of the title track. I personally like the drum programming on this one. Through there are some strings, the classical elements aren’t very prominent in this song, instead adopting more of a trip-hop sound. In some ways it kind of reminds me of The Gathering. ”Swallow”: This is probably the “poppy” song of the album. Then the chorus follows, the second time being accompanied by some hyper fast harpsichord line. At around 3:38, a neat violin passage kicks in followed by a soft and mellow final verse. As the tension on the verse reaches its peak, Emilie switches her mellow vocals to a desperate shriek in which the chorus is delivered. ”Opheliac”: The album opens with a melancholy harpsichord playing for a minute before giving way to a verse that kind of reminds me of The Return Of Saturn-era No Doubt (a good four years before Gwen Stefani unleashed the musical atrocity that was her first solo album upon mankind). Still, I must say that the good aspects of this album more than compensate for the bad aspects.

#GOTHIC LOLITA EMILIE AUTUMN FULL#

A couple of fillers and some subpar performances actually keep this album from reaching its full potential. Perhaps the latter is the most fascinating of them all Emilie actually shreds her violin as if it were an electric guitar, demonstrating what a skilled musician she really is. Industrial rhythms, dance beats, growling vocals, opera chants, confessional lyrics, harpsichords and Emilie’s trademark distorted violin are some of the many surprises that this album has awaiting for the listener.

However, I believe that there are more than those two genres to be found in here. Entirely composed and performed by herself, this album has been described as a fusion of the classical and industrial genres (a mixture that the artist herself calls “Victoriandustrial”). I must say this is one of the best gothic albums I have ever heard. She played violins and backing vocals on Corgan’s solo album TheFutureEmbrace, and also designed the costumes for Corgan’s video for “Walking Shade.”Īfter touring and recording with two of rock’s most notorious and, dare I say, scorned characters, Miss Autumn finally began working on a new album of her own. Through Kurt Cobain’s widow, Emily met Billy Corgan, frontman of The Smashing Pumpkins. Then everyone’s favorite crackwhore asked little Emilie to join her all-female band and tour in support of the album. Yes, after dwelling for many years in the underground goth music scene, this young lady’s first taste of fame was when the ex-Hole frontwoman invited her to perform violins on her debut solo album America’s Sweetheart (which didn’t exactly left a lot of critics swooning, but since I haven’t heard that record, I can’t exactly say if it’s good or bad). Those words were taken directly from Emilie Autumn’s Myspace page. “Courtney Love's ‘anarchy violinist’ returns to the stage and is keeping the spotlight all to herself.”

Gothic lolita emilie autumn