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Theatre Is Evil

8 customer reviews

Price: £10.78 & FREE Delivery in the UK on orders over £20. Details
Only 4 left in stock (more on the way).
Dispatched from and sold by Amazon. Gift-wrap available.
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£10.78 & FREE Delivery in the UK on orders over £20. Details Only 4 left in stock (more on the way). Dispatched from and sold by Amazon. Gift-wrap available.

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Theatre Is Evil + Who Killed Amanda Palmer + The Dresden Dolls
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Product details

  • Audio CD (10 Sept. 2012)
  • Number of Discs: 1
  • Label: Cooking Vinyl
  • ASIN: B008NBUWUG
  • Other Editions: Audio CD  |  Vinyl  |  MP3 Download
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (8 customer reviews)
  • Amazon Bestsellers Rank: 4,741 in Music (See Top 100 in Music)

1. Meow Meow Introduces the Grand Theft Orchestra
2. Smile (Picture or It Didn t Happen)
3. The Killing Type
4. Do It with a Rockstar
5. Want It Back
6. Grown Man Cry
7. Trout Heart Replica
8. A Grand Theft Intermission
9. Lost
10. Bottomfeeder
11. The Bed Song
12. Massachusetts Avenue
13. Melody Dean
14. Berlin
15. Olly Olly Oxen Free

Product Description

Singer, songwriter, piano-slayer, and blogger Amanda Palmer is preparing to release her first studio album in four years, Theatre Is Evil, on September 10th. Amanda and her band The Grand Theft Orchestra - featuring members Michael McQuilken, Chad Raines, and Jherek Bischoff recorded the album in Melbourne with producer John Congleton (St. Vincent, Murder By Death, Modest Mouse, Xiu Xiu). Arguably her most pop-influenced album yet, Theatre Is Evil showcases Amanda s powerful vocals and talented songwriting in ways that may surprise even her most ardent fans. Written over the course of several years (since the release of her last studio album, Who Killed Amanda Palmer), the album offers a collection of sounds and rhythms heavily influenced by the music Palmer grew up listening to most notably 80s synth rock and Brit Pop. From the anthemic Do It With A Rockstar and Melody Dean, to the mighty, horn-induced bop of Massachusetts Avenue, Theatre is Evil is tauntingly playful. At the same time, a more somber, vulnerable Amanda Palmer pulls at our heart strings with ballads like Trout Heart Replica, Grown Man Cry, and the pièce de résistance: The Bed Song, a somber, melancholy track that documents the slow deterioration of a long-term marriage. Following they re sold out rock show London s Village Underground in June, Palmer and The Grand Theft Orchestra will embark on a full European tour this autumn, which will kick off with three shows in the UK. Tickets for this tour (as well as US dates starting Sept 10th) go on general sale on Friday July 13th at 9am.

Customer Reviews

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Most Helpful Customer Reviews

13 of 13 people found the following review helpful By Amazon Customer on 13 Sept. 2012
Format: Audio CD
An awful lot of hype has gathered around this release in the last few months. If the yea-sayers are to be believed, it represents a mighty stride forward into the future of the music business: a million dollar crowdfunded behemoth built on mutual love and admiration between fan and artist; a true leveller of the playing field and an inevitable inspiration to those seeking alternative methods for making their sounds heard.

Regardless of your feelings regarding the album's process, one question has always remained, and it is a question that could only be answered truthfully within the last few days: Is the album actually any good?

The simplest answer would be 'YES', though any answer so brief would do an injustice to a record that has plainly had hours of attention lavished upon even its humblest moments.

In the broadest sense, 'Theatre Is Evil' is very much a product of the 80s. It is not, one should be aware, a mere revivalist exercise: though the music frequently ticks the boxes of goth, cock rock, new wave and new romantic, it still sounds - appropriately enough - new. The twinkling synths that garnish much of the album may have that retro vibe, but they are merely an aspect of the wider pantheon of musical glory.

The band should be exceptionally proud of their creation. Nary a second is left unfilled by thrilling sounds, yet the songs never feel cluttered or unwieldy - just exciting. Palmer herself is also on top form, perhaps in the finest voice of her career, with added menace to the growl and further yearning to the moan.

Of course, as a house with a beautiful facade is no use if the foundations are rotten, so an album covered in pretty music is nothing without good songwriting.
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7 of 7 people found the following review helpful By Inky on 2 Nov. 2012
Format: Audio CD
Given this album by my son for my sixtieth birthday and looked at the cover(s) and wondered why? Put on the first track and wondered why even more and was then simply blown away with the rest of the album. The power of Amanda's voice, the beauty of the tunes. I was so struck I bought tickets to her Bistol(UK)gig as soon as the CD had finished. Hard to define but elements brought to mind - the energy of the Scissor Sisters, the intricate tunes of Tori Amos and the production that in places reminded me of the Beatles - Sgt Pepper's. This album is simply a work of art. Go listen on something like Sp-tify and you will probably end up buying it. Great present, thanks Gavin.
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4 of 4 people found the following review helpful By The Wolf TOP 50 REVIEWERVINE VOICE on 15 Sept. 2012
Format: Audio CD
Once in a while an album comes along which grabs you by the scruff of
the neck, hurls you round the room and turns you inside out and upside
down. Amanda Palmer's new recording 'Theatre Is Evil' blister's and burns
with the kind of raw energy and calamitous emotion which burrows deep
into your heart and brain and won't let go. A truly thrilling experience.

With a tight new ensemble, The Grand Theft Orchestra, at her disposal she
proves beyond doubt her credentials as one of America's most inventive
and credible performers. The thirteen songs in this set, whilst referencing
the seventies and eighties with joyous abandon (the spirits of Toyah Wilcox
and Siouxsie and The Banshees could well be dancing in the wings!) demonstrates
Ms Palmer's capacity to assimilate the past and deliver musical ideas of rich
contemporary relevance. Her voice is an extraordinarily affecting instrument.
Take a song like 'Trout Heart Replica' : against a rolling piano ostinato and
haunting string glissandi her low-pitched vocal emerges from the mist to take
hold of the deftly crafted melody with the kind of restrained passion which
makes the hair stand up on the back of your neck. Some of the album's finest
moments come in its quieter corners - 'The Bed Song' is a delightfully tender
and deeply personal waltz-time composition to rank with her very best work
but there there is wry humour and playful power at hand too in numbers such
as 'Do It With A Rock Star', 'Want It Back', 'Melody Dean' (with its cute
not and wink to The Knack's 1979 hit 'My Sharona') and the blissfully bouncy
final track 'Olly Olly Oxen Free'.
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7 of 8 people found the following review helpful By Sordel TOP 500 REVIEWER on 13 Sept. 2012
Format: Audio CD
When Amanda Palmer turned to crowdsourcing to fund the manufacture and distribution of Theatre Is Evil, the album was already recorded, so here we have the oddity of a massive spotlight being turned onto what is, at heart, a very modest album. The chances are that Palmer will now 'cross over' to a much wider audience, but on the face of it nothing could be more unexpected, since this is not a particularly commercial album.

Those who heard her previous, big label solo effort, Who Killed Amanda Palmer?, will already expect an album of extremes, from the rampant, energetic pop of 'The Killing Type' to songs such as 'The Bed Song' and 'Berlin' which have a deeply theatrical feel to them. Palmer's lyrics are always edgy and bordering on the confessional, but she has a real gift with melody that means that songs often draw together her influences very cleverly to create something fresh.

Palmer's fans will probably want to lynch me for saying this, but the truth is that Who Killed Amanda Palmer? is actually a better album, where producer Ben Folds helped to rein in some of the self-indulgence and give her 'punk cabaret' roots a hint of high production gloss. Left to her own devices, Palmer has turned in something with a raw energy that can make for uneasy listening. The ballads are just so striking that it's sometimes wrenching to listen to the songs that invoke eighties pop.

That said, for those who can handle the gamut of extravagant emotions run by an immensely talented performer who seems from moment to moment to need either a throat lozenge, a hug or Ritalin, this is a great, vital album.
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