What happens when the whole premise of using electric guitars is substituted with the use of an electric violin? Well a few things can happen, most of which are not important, except for one artist: Emilie Autumn. She blends various musical genres together to make what she calls "victoriandustrial." This portmanteau is used to represent the industrial elements of her music mixed with strong victorian influences.
Her "Opheliac" album found its way to America on October 7, 2008. Prior to this release date the album was released around Europe from 2006 to 2007. This would not be a problem is she was from a foreign country, but she is from the United States. Regardless of release dates it is a relief that the album finally made its way back to America. Well, it is what music should be, an artist expressing themself rather than purely attempting to make a quick buck.
The album has a constant industrial sound to it, but is not afraid to add a classical victorian flair here in there through instruments such as violens, cellos, and harpsichords. The title track, which is also the first song, does this this. It starts off with about a minute long introduction with a harpsichord, and then segues into a more alternative industrial sound. The song makes countless allusions to Shakespeare's "Hamlet," specifically the character Ophelia, but in some parts Hamlet too. The song goes as far as quoting the letter Hamlet wrote for Ophelia in Act 2 Scene 2; "Doubt thou the stars are fire;Doubt that the sun doth move;Doubt truth to be a liar;But never doubt I love."
The lyrical content of the remainder of the album is largely up to interpretation, though Emilie Autumn has explained several of the premises for them in various interviews. Most, if not all, of the songs have to do with her personal life, which allows her to perform them in a deeply emotional way. Songs such as "Liar," "I Want My Innocence Back," and "Gothic Lolita" revolve around the theme of betrayal. While there are subtle differences in themes they all have a dark, gothic feel about them. Also worth noting is that she bases her song "Shalott" on the victorian ballad "The Lady of Shalott," by Alfred, Lord Tennyson.
There is also a bonus disc, which is shorter but still entertaining. The songs "Thank God I'm Pretty" and "Marry Me" possess a dark humor. Both songs are void of industrial influences and focus more on classical styles, which fully appear on the second instrumental on the disc, "Bach: Largo for Violen." There are three poems of various lengths, an interesting classical industrial instrumental that mimicks a movie soundtrack which blends into a melodic industrial track. A few bonuses on the album include an interview with her, outtakes, and bonus video footage accesable through the computer.
At the very least the album is worth listening to, but is worthy of being bought by anyone interested in the wondrous, but rare art of genre blending. Perhaps the hardest part is finding the album, but most Hot Topic stores have at least one copy of it.
Final Score: 8.8/10
Good review. The pictures look great.
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