Live Concert Review
EMILIE AUTUMN: Live in Chicago, 9/29/2001
by Bryan A. Bushemi
To see Emilie Autumn perform is to watch an artist uncompromisingly demand attention. At least, that was the case for Autumn’s set at the Elbo Room on Saturday, September 29, 2001. Autumn took the stage in a swirl of shimmering cloth and gleaming flesh just after 10 p.m., backed by a four-piece ensemble consisting of not only the standard guitar/bass/drums but also, of all things, a cellist.
Dressed in a bejeweled, golden, midriff-baring bustier, a faux-wolf’s-pelt skirt, polished platform combat boots, and a garland of ivy and crimson blossoms crowning her waist-length, flowing, red tresses, Autumn exuded a fierce-yet-delicate elfin quality as she began the set with a graceful melody on her sleek, black, electric fiddle. From there, her playing increased to a blinding, finger-flying pace that took hold of the uncertain audience’s attention, drawing them towards the stage. By the time she and her band transitioned with feed-back-rife, rumbling pulses to “Across the Sky”, almost everyone in the crowd was focused on her.
An old concert review EA had up on her site until the mid ‘00
Live Concert Review
by Suki de la Croix, Nightspots, 02/06/02
Whoever it is that’s booking the bands down at Girlbar deserves a big round of applause. Emilie Autumn – she is described as an eclectic singer, composer and world-class violinist. But she’s more than that – and here comes the gay man’s superficial remark – she just looks fabulous. Tiny, and so thin, she has to run around in the shower to get wet, she stepped up to the microphone like a lost waif, picked up her violin and sang a brilliant version of probably the worst song ever written: Simon and Garfunkel’s “Scarborough Fair.” Anyone who can turn that piece of crap into a priceless, Celtic-influenced gem is a musical genius.
EA’s stance on “Digital Performance Right in Sound Recordings and Ephemeral Recordings” from 2002.
You can learn the background of this on Copyright.gov (they mention EA briefly near the end).
Declaration of Emilie Autumn
￼I, Emilie Autumn, declare as follows:
1. I am making this declaration in support of the motion of Live365 for a Stay the Librarian of Congress’s Order setting rates for webcasting royalties. Except as stated, I have personal knowledge of the facts in this declaration and could testify competently to them in a court of law.
2. I am an independent recording artist and performer. I began performing professionally as a classical violinist at age 12, and now record both classical music and adult alternative rock music I call “fantasy rock.”
Silverfox: How did you get your start in the music industry and what made you decide to go in a different direction with classical music?
EA: When I was four, I decided I wanted to play the violin. I didn’t have any concept of what that meant, the competition, the concert halls; I just thought it looked like fun. As I grew up, my dream was to travel the world playing Mozart and Prokofieff, but as I got nearer to my goal, it began to look less and less attractive to me. Much of the music we term “classical” is brilliant, far more brilliant than anything that’s being created now, in 2002, but the classical industry itself is a horrible machine, soul-killing and manipulating. They (professors, critics, etc.) take these musical masterpieces and tell everyone to play them in exactly the same way, and they do their best to stomp out any flame of creativity in anyone, for fear of being overthrown. I know I sound like a conspiracy theorist, but any classical music student who hasn’t been utterly brainwashed (a lot of them have) can tell you the same thing. Then, the industry complains that they have lost the interest of the general public, when the fact is that they are collectively so boring it’s bloody painful. I could not work within the constrictions of the classical industry, so, after a lot of heartache, I chose to embrace everything that made me different from them and see where that took me. It was at that point, in my teens, that I began to sing, write songs as well as symphonies, and develop my knowledge of electronics and recording. The result is, I think, a mixture of everything that I love, from the ancient music that I grew up on, to the rock music that inspired me, to the futuristic sounds I hear in my head.
XE Radio Featured Artist, June 2002
XE: Chambermaid has lots of different sounds in it. How do you describe your music?
EA: Funny you should ask, because I actually have invented a term for the sort of music I make. I call it, “Fantasy Rock.” That may not mean anything to most people, but it is meant to describe a sound that contains “rock” elements, but isn’t afraid to use violins or harpsichords, and is based on fantastical subject matter like chambermaids, fairy tales, myths, legends, and the occasional reincarnation experience.06.14.14 ♥ 11
I was going to respond with a simple “you’re welcome,” then I realized you might have to go back (or forward) a bit to find a snapshot with a working link.
So, even though I posted the whole interview on this tumblr here’s a link that still works for those who like to go to the source: EA Silverfox Interview 2004
SFR-What has changed in your music since we last spoke with you in 2002?
EA: That’s difficult in that I’ve got a few musical directions going on at once, so while my direction as a classical musician is still similar to what it was, my direction as a jazz artist has veered off from my direction as a rock artist, so that the jazz now has it’s own record coming out in the form of ‘The Jane Brooks Project,’ and the rock is focusing on her next album and going a bit more electronica this time.
Silverfox Radio isn’t around anymore (I think). They interviewed EA in 2002 and then again in 2004-ish. This newsletter mentions the addition of the 2004 interview to EA’s press page. I may have both interviews knocking around somewhere, I’ll post them if I find them.02.05.13