on 8 January 2014
Emily Autumn defies description as an artist. If you want industrial, electronica, rock, broadway? She's got you covered. Fight like a girl is an anthem for the oppressed, the downtrodden, the angry...... Give it a listen, you won't regret it.
on 4 October 2012
Emilie Autumn you have done it again!
A work of genius has been released.
The songs, although perhaps vaguely relating to Opheliac, once again begin a new era for the multitalented musician.
The first track, is for me the one I like least, since it is the most 'mainstream' sounding of the lot (the genre for this cd, in my opinion being a musical yet with darker, more alternative twists). That being said, it is not a bad song and EA does a very good job of performing it, and all her songs, live.
I have to say that I like almost all of the other tracks though, 100%, although I sometimes miss the crumpets, as the while thing sounded brilliant, if not more emotional, live.
My personal favourite songs are 'Take The Pill', 'Girls Girls Girls' and 'What Will I Remember', as they all show different aspects of Emilie's and also (her alter-ego) Emily's (Read the Asylum For Wayward Victorian Girls if you don't know who I am on about, as apparently EA's musical will be based largely on that) personality.
'Take The Pill' is very brutal, to say the least. Staring with a repetitive, almost machine like, selection of words that are drummed into the victim. The song ends in screams.
'Girls Girls Girls' is much more lively, however this time, in a quite sarcastic sense and the topic of discussion is madness at what appears to be none other than a freak show.
The lyrics are quite amusing, especially at the end of the song, where EA goes off on a much appreciated tangent of why these 'Crazy Girls' are here.
''What Will I Remember' is much more serious, the cherished philosophical side of Emilie has once again come out to haunt us and make us ask the questions that we are all hesitant to face.
Emilie's violin playing is also a continuous feature of this album, which like her other albums, also features a selection of purely instrumental tracks.
Overall, I would say if you have never listened to Emilie Autumn, there is no easy place to start as no two albums of hers are the same, nevertheless, this one although maybe shocking to some, could be a good place to start. And to those who are already plague rats, or just appreciate EA's interesting music, you know what I am going to say, this CD is a must have in your collection!
on 27 September 2014
Not for me - I was expecting someone along the lines of Opheliac, I got something to cure my insomnia but not in a good way.
The whole "Mentally ill" fandom is just snoreworthy. Emilie's put the violin down to put the finger up at those that obviously see through her stupid fantasy of 'English victorian lady', your an american whine ass that needs to move on - As a sufferer of Manic depression in a way this album pisses me off. Her writing skills are too lacking, for those that like the book, Great! I am sure the writers of the original works she's so obviously stole her ideas from (No wait emilie does not steal ideas - even Lady gaga steals from her) are proud she managed to pull this off and their work has inspired her so. She lies, She is like a broken recording drowning out whatever talent she has. Cant believe I waited two years for this.... Lame.
on 27 September 2014
Emilie has lost what she had with the likes of Opheliac - The mental health issue she 'Apparently' suffers is being beyond glamorised. Her talents are being put to waste with this album. This album recaps melodies from older songs from Opheliac those tracks being better produced with stronger lyrics. Emilie has become very childish and set in her ways - She been more famously known as a liar rather than bipolar. I miss her heart felt honesty.
I have loved emilie for many years long before Opheliac but waiting for this for two years really was not worth it. I am tired of this continuous focus emilie has on being a victim - and of her feminism - All women feel strong about their sex - she's not alone but she is too dramatic.
I understand she loves a bit of theatre but the music video also was a let down - over acted by her more than anyone. I am seriously upset with this release that I feel did not deserve my hard earned cash. Those that do adore it I feel are the so called 'Plague rats', lost in her manipulative world.
I officially will no longer listen to this artist - I am bored to death with her but don't get me wrong I was very much the first to book my tickets to her concerts before this "Asylum for wayward victorian girls" tripe landed itself at our doors. Another issue I must stress annoys me - The "Victorian" is not there - The harpsichord for one was not fashionable during this period. I don't like her wanting to try and be some british poor Victorian street walker when she is in face a rich born american.
Her poetry is very ill-educated and lacks construction - The book is a complete rip off from various sources. Emilie, I am tired of the lies and bored with what you have become to be -
on 1 August 2013
Rehashed melodies of older more successful tracks, flat lyrics and a childish and above all a fallacious interpretation of modern mental health care make for an album which doesn't come close to the grandeur of Opheliac or even the slightly clumsy efforts of a young, new artist heard in Enchanted.
It falls far short of any of her previous work, and for an album two years in the making, it really deserves to be better. Instead we're treated to a slew of Feminism 101, lacking in any real nuance; and the continued of use of a by now slightly tired pseudo-innocent persona which doesn't serve her music nearly so well (in comparison to, say, Thank God I'm Pretty.)
The music underlying the lyrics is subtle, and itself a vast improvement on prior fare, but due to the lyric-centric structure of her non-instrumental albums and singles it's too little to save what I would be generous to call a mediocre album.
on 28 September 2015
bought this album for the cover magical album have bought every bit of music by autumn beautiful
on 14 October 2013
I adore this album and I've seen it live! These songs are the basis for Emilie's upcoming musical and I cannot wait to see it!
on 7 May 2015
I love this CD & I love Emilie Autumn so this was a perfect present for me :D
on 30 October 2012
If you are a disapproving parent, misogynistic male, not willing to look beyond the surface or just scared of the ideas of stereotype or genre breaking, then you've probably not even got this far, Emilie Autumn will have been dismissed or damned. If you are a teenage girl battling with the trials of adolescence, then you probably won't be here either, for Emilie Autumn can do no wrong. If you are open minded and interested in getting behind the façade to the Music, then this opus is well worth a listen.
Autumn is almost an entirely self made independent star, and this album forms the third part a cycle of vocal works that track her development as a human being suffering from bipolar syndrome, this done in a way so personal that would have been impossible in the mainstream world dominated by producers and executives from which she bravely broke free. Autumn is not one of those lost young women writing introspective `feel sorry for me' lyrics to a dreary producer driven backing, she is a first rate and versatile songwriter, musician, composer and producer writing thoughtful, multi layered songs and composing fitting and interesting music - the best of Sandy Denny, Kate Bush and Madonna rolled into one. From the escape into fantasy in the delightful and sometimes innocent debut Enchant, the horrific reality of her illness in the spikey and often difficult Opheliac, and now to her struggle to regain control of her own life in "Fight Like a Girl" - a truly magnificent work with a beautifully crafted combination of power (e.g. Time for Tea, If I burn), excitement (The Key), pathos (Gaslight), grace & sensitivity (I don't understand), and fear (the cleverly short "Hell is Empty"). Miss Autumn is indeed a very gifted and thoughtful lady, she is definitely not a screaming vengeful adolescent and it is a shame that this portrayal may alienate potential admirers. I look forward to seeing where her journey takes her next.
Although I personally love this album, I wouldn't play it to my Aunty, but if you like something a bit different, bursting with the personality of the artiste, give this a try - I hope you will be impressed. Another of my favourite divas, Anna Calvi, once said words to the effect of "Singing with passion seems to have gone out of fashion" Well don't worry Anna - It is back with a vengeance.
on 17 October 2012
I purchased this from Emilie's own website on CD and what an album it is. For my money this includes Emilie's best songs yet and in the final track, "one foot in front of the other", she has topped everything she has ever done. The song starts as a single drum beat and builds with each verse, adding a new instrument until it feels like a full orchestra by the end. Moving,funny,sad, infuriating, the album shifts tone and feeling like a rolercoaster. It is hard to believe there is only one musician at work throughout, Emilie recording everything herself, writing, performing and producing. Her voice is incredible. She is able to capture such purity of tone but then switches to a victorian music hall tone at the end of some songs and it really catches you off guard. If only she had been around in the "Good Old Days" era (back in the seventies, yes, I am that old).
My usual music taste is closer to Mastodon but this woman should be several times more famous than she is and no mistake. Apparently this is going to form the basis of a west end musical extravaganza in 2014, and thats a big word to end on.