Autor Wątek: Październik 2006 - EA w Orkus International nr 3 (wywiad)  (Przeczytany 1284 razy)

Offline Ankh

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Dziś udało mi się odkopać przepisany wywiad na oficjalnym forum EA. Kopię zamieszczam poniżej:

Emilie Autumn is young, intelligent, successful and extremely sexy. A higly dangerous combination. She learned to play violin at the tender age of 4 ; An instrument wich still accompanies her and wich is an important part of her way of expressing music. What follows is, in a way, the gothic alternative version of the American dream ;collaborations with Courtney Love and Billy Corgan (formerly of the Smashing Pumpkins), appearances on David Letterman's and Jay Leno's late night talk shows, her very own fashion label, several successful books, and, last but not least, outstanding truimphs on the field of dark music heve turned this young lady from Chicago into a alternative icon in no time. A very unique and distinctive "Emilie The Strange", wich neither misses an experience nor minces words. Living life to the full, despite an overflowing schedule.
Opheliac is the name of her new album, and in turning down a major label and giving the deal to a small alternative label Emilie has once more lived up to her reputation.
She does not need the support of any major record company, and whoever knows Emilie also knows what she thinks of major label mechanisms. In a exclusive Orkus interview, this remarkable artist gives us an insight into her exciting life and her even more exciting music, which she has dubbed "Victoriandustrial."

ORKUS : Opheliac is inspired by the tragic Ophelia in Shakespear's Hamlet. What kind of woman is she to you?
EA : Ophelia is an archetype....She was born that way, she was written that way. Shakespear didn't invent characters, he drew on human nature and observed and illustrated them. Ophelia was the archetypal "mad girl", the poster girl for glamorized insanity, the patron saint of girls on Zoloft.
ORKUS : Ophelia ultimately went mad after her father got killed by the man she loved. Thus, is this the definition of an "opheliac" ? What makes a woman an Opheliac?
EA : First of all, did she really go mad? Maybe. Or did she just act that way? Maybe. Or could she have had no other way to be released from the social boundaries that require a certain type of behaviour, especially for girls ? Maybe. The path to insanity is never black or white, and it's never entirely what it seems.
When someone self-destructs there is a wide range of possible causes from sadness to madness to absolute calculated choice.
The character of Ophelia is a woman who is pushed and pulled by men in her life to the point where, in her mind, there is only one way out. Every primary male characterin the play fucks with Ophelia's head untill she doesn't even know who she is any more. Therefor, an "Opheliac" is a medical term. I came up with to describe a type of person who constantly find themselves repeating this cycle of being driven to the point of madness. And the choice that one makes however unwittingly to become this person whose choices are made by others. The choice within that choice to give up the choice. Choices. I swear i'm not drunk right now.
ORKUS ; Do you consider yourself to be an Opheliac in some respects?
EA : I never intended to be, but i am the Opheliac i'm talking about... I'm not talking about Shakespeare on this record, i'm talking about me... And the absolute terror i felt upon realizing in one blinding flash of English Breakfast tea-induced sobriety that i had become this archetype... That i was not special or untouchable or magical, that i was bleeding flesh and broken heart and i was being driven mad and i was letting it happen. I was letting it kill me.
ORKUS : Ophelia drowned herself and therefor developed the famous Ophelia-motive. What do you think caused her suicide? Is it solely Hamlet's mistake (in a way that men are always to blame ? *g*) or do these women have certain tendencies within them they can't fight against?
EA : Excellent question ! I believe that her suicide, like many others since the beginning of time, was her freedom.
I'm not saying it was the best idea, i'm saying it was, for her, the only idea. She was caught in a spiral of choicelessness that is impossible to survive within.
Like an animal, she shut down. Was this innate to her self-destruct, or was she pushed to it, i still don't know, and that is essentially what this is all about.
I've spent a great deal of money asking therapists which of my mental disturbances are environmental and which are genetic, and i've never gotten a straight answer.
In any case, i don't think the point is wheter it was Hamlet's mistake or not. The fact is, Hamlet was an archetype too, as was everybody else.
Hamlet didn't set out to take Ophelia down, nor did her brother, nor her father, nor the king, nor anyone who had a part in driving her mad. They were just going about their selfish lives, doing what they do, for their own reasons. But the main difference is that they were constantly making choices, about their lives, about other's lives. They were allowed to act, Ophelia could only react. And the reason why this is relevant at all is because this is still happening everyday, everywhere. There's a reason why every girl i know is on anti-depressants. Something's wrong with this picture.
ORKUS : In which way can suicide be a solution ?
EA : I'm glad to say that i don't know. For me, it was not the solution, making music was the solution, writing was the solution, humour was the solution, being creative was the solution. I've put an incredible amount of work into that NOT being my solution.
ORKUS : In former times (in Hamlet's, for example), suicide was regardedas a capital sin and everyone committing suicide instantly gave their souls into the devil's hands.
How desperate (or likewise, how fond of the devil) must one be to sill to it?

EA : Ha, yes, i suppose that, by that description, suicide would be about the most metal thing one could do! I think that suicide is still largely regarded as evil, shamefull, and weak, there is still a lot of religion attached to it. I am not here to pass judgement on anyone for their choices, nor i am a mental health expert - though i have paid enough in therapy to be. I would rather look into why it is that people feel they have so few choices. I'm doing it for myself, still, everyday. And i am fascinated by what it is that has the power to make the drive to survive, that greatest drive that any living creature has, simple fall away...
ORKUS : You coin your music "victoriandustrial" which is indeed quite fitting. I've never before listened to a melange of violins, spinets, harpsichords, harsh and distorted beats, your angry or soothing voice and these constrasts from innocent-shy to killing-spree and lunatic. What must one do to come up with such an extraordinary mixture of such distant genres?
EA : Thank you for listening so closely ! I think that there is a sort of fearlessness that comes when you no longer care what becomes of your work, you make it because you have to make it. So much of modern music (and not so modern, i.e., court composers, patron-supported violinists, and so on) is created around fear - will this be a hit ? Is this radio-friendly ? Will i get signed with this? Will audiences like me? Am i sexy enough ? Am i too sexy? Will i scare people? Does anyone care about violins anymore? Am i using too many big words?- and such. I sympathise of courde, we all have to make money, we all want to be liked. But for me, for this project, i abandoned all thoughts of how this music would be received and focused on making it for myself. It's anti-fear based, and not only in the way that i used every tool i had from every genre i knew because i didn't care whether people would understand it or not, but also in the way that i went into the studio every night with the mindset that i would NOT be afraid anymore, i will NOT be afraid to scream, cry of growl or make horrible noises or do anything that it takes for me to feel like i've said everything i have to say. For this week anyway... And in case i'm not feeling so brave, i will surround myself with people who will hear it, and call me out on it, and tell me to fucking scream... This is what Inkydust (the ingeneer and mixer of Opheliac) at Mad Villain Studios in Chicago did for me night after night. And as result of my not caring about what anyone would think, or wheter they were offended by my lyrics, or wheter it made sende, i believe that i have come out with a more focused, pure, and actually relatable record than anything i have ever done. I see this in the way that, for all the lovely chatting we're doing now, i don't have to explain this music to anybody.
They just get it or they don't, but it's all there and it speaks for itself.
ORKUS : You began your career as a classical musician. What was and when came the starting point when you realized that you needed something darker, something more provocative, more thrilling and more aggressive ?
EA : I did start out as a child fiddler in the classical vein, but i was never an average classical player, not from day one since i was four years old. I was quite a rebellious studens, and that made for a rather difficult time with my professors, which sounds cool to say now, but it really wasn't - it was torturous t know that what i wanted to do with music was, in that genre, simple not allowed, and creativity of any real sort was not to be tolerated, all the while knowing that there was nothing so dark as Elgar, nothing so provocative as Bach, nothing so thrilling and aggressive as Sibelius. So i played the game and practiced my eight hours a day and developed case after case of tendonitis, but meanwhile i was also secretly writing music of my own in many different styles, because there was no one to judge it, and i was completely free to fill up my staff paper with anything i wished. Then, i began studying jazz and playing in bands when i was around thirteen, and i've developed both sides of my brain
- the classical and the non-classical- from that point on. I've surrounded myself by so many different styles of music that it really becomes a matter of deciding what i want to say, then i simply choose the tools i feel do the job best. In the case of Opheliac, i was listening al lot of industrial greats like Laibach, VNV Nation, Front 242, tons more that i love dearly, and i knew that this dark tonal palette, this harsh atmosphere, THIS was the box of paints that i would use to express the chaos that was inside me, each grinding crash of metal on metal would help me get this out, and so i began programming beats and here we are. And as my signature of course, i combined this with my classical influences to make "victoriandustrial'...To take the sounds of rebellion and rage and breaking free, and set it against the most repressed period in history...It's almost a joke.
ORKUS : What was your childhood like ? Any traces of your future development?
EA : I think that, in a lot of ways, i was just a smaller, blonder version of myself now, but i was too young to know what to do with. There was never any real metamorphosis, I've been a circus freak all my life.
ORKUS : I heard rumours about you touring through Europe as a highly talented 12-year-old girl. What's behind that?
EA : I started performing professionally when i was still quite young, yes. I've been to more places and played more shows as a violinist than a singer, though i hope to balance that out once we go on tour with the Bloody Crumpets (my backing band). Our live show is...quite an experience to behold, something like a gothic burlesque...
ORKUS : Wich bands caused your interest in these extreme spheres of music?
EA : I absolutely adore industrial from the early years like Foetus, Ministry, Einstürzende Nebauten, Nitzer Ebb ( i had the great pleasure of working with Bon Harris on the last Billy Corgan album) all the way up to today, which i won't even get into because of the current debate on what even constitues "industrial" anymore. I have also been an early-music geek for years, and have done a lot with period instruments and period performance, and that figures into the sound largely as well, baroque violins and harpsichords and such...Also bands like Queen, David Bowie, The Smiths, Arch Enemy, Cannibal Corpse, anybody who is creative and unafraid to be insanely theatrical is a hero to me, i don't really care what genre it is. My friend Brendon Small (creator of the new music cartoon Metalocalypse) introduced me to Dragonforce, and i'm completely inspired by the bombasticity of their playing...
ORKUS : And, likewise, what were some musical sins of your youth (confess truly, mine were David Hasselhoff for example!!)?
EA : Wow...You're a brave lad to admit that, i'll buy you a drink. Will absynthe do? I'm stalling for time.. I don't want to admit this...You can't make me...Stop tickling...Alright, i'll tell you...I love musicals and broadway and i can sing you the entire score from anything Andrew Lloyd Webber even wrote, including his Requiem. I'm not proud. Aaaah, that felt good.
ORKUS : "Victoriandustrial" implies a strong interest in the victorian age. What's your interest in that epoch? Is is the clothing style of that period? The literature?
EA : It's a bit of all of it. I'm a big fat history nerd. I identify with and draw from and obsess over lots of different periods, but i've got a special interest in the Victorian era mainly because of the psychological discoveries (and mistakes) that were made during that era. Lots of elements of life as we know if were set into motion. Lots of horrible miscalculations were made that we are still recovering from. This is the period that spawned books questioning wheter women were actually human beings, and brought visitors through the insane asylums like a zoo tour to look at the 'ophelias', the term the used for the female patients. As someone who's constantly searching for some sort of psychological understanding, this is horribly fascinating to me. In other words, yeah, it's the corsets.
ORKUS : Victorian societies were very strict in terms of behaviour, rules and gender roles. How would you have felt in such a world?
EA : Probably very similair to how i felt growing up. I was a child in a adult world, surrounded mostly by old men, full of rules and proper attire and proper things to say and not to say, and i was constantly feeling the pressure of not being quite comfortable with who i was being asked to be, yes also feeling glad to be a part of a world that, as it seemed at the time, mattered. Ironically, more damage was done to me during that time than i care to recollect, so for methe answer becoming a rock star, for Victorian ladies it was jumping off the "bridge of sighs", same thing metaphorically speaking...
ORKUS : You have a huge and loyal muffin base that not only identifies itself with Emilie Autumn through your music but also through your attitude and your clothing style. Why on earth are they so dedicated?
EA : God knows..I don't do what i do with an eye on the fanbase, i do it because i need to and it helps me through this world, and that applies to the hair, the fasion, the music, all of it...Everything i wear or tie around my wrist or paint on my face is a little ritual that makes me, quite simply, happy - it's not the result of a stylist, or record exec..So if there is a following of people who seem to understand this, perhaps that is what they are in fact drawn to - the fact that i remain independent and insist upon doing what i want the way i want, and this in turn makes the whole thing commercial because it sells, but i'm guessing that the reason why people dye their hair to look like mine or or paint hearts on their cheeks has more to do with the attitude behind it than anything else..
ORKUS : Describe your feeling to have such a true and loyal muffin base.
EA : I am honoured and amazed to have the ear of people whom i have never met, without question. I think that, if my audience is loyal, it is because they know that i love them, that i respect them, and that i will never pander to them or anyone else. I don't work for them, i work for me. But i love them, and i am grateful that they give me a place in their lives. I want to sing for them every day or until they tell me to shut up and go away.
ORKUS : That almost worship-like fandom reminds me strongly of the Japanese Visual Kei/J Rock scene. What do you think about that scene?
EA : I have a great love for Visual Kei and J-rock, i have for years. It is amazing to me that people in Japan are making music that is more like what i do than anything i know of in the States, by which i mean the combining of genres usually seen as very disparate. I've got a great deal of respect for the scene and i make no secret of it, you have only to look at my bookshelf of Gothic Lolita Bibles to find out that...And having Opheliac released in Europe by the same label as Moi dix Mois (Trisol) makes me giddy. There's a song on Opheliac called Gothic Lolita, though it is actually not about the fashion scene at all, it's quite literal.
ORKUS : You're also working on you "Alphabet Book Of X-Boyfriends". What makes it an adult book only ?
EA : Naughty words
ORKUS : And how many ex-boyfriends made you write such a book ?
EA : Just one.
ORKUS : Are you single at the moment? What would be your dream man then?
EA : A dead one.
ORKUS : What's a sexy man for you?
EA : Why, the same thing that makes a sexy woman, ofcourse...Bringing me crumpets in bed ! (BS)

W skrócie: Emilie rozwija tutaj motyw Ofelii i Opheliaca w swojej twórczości a także opowiada o swoim życiu, twórczości, gustach muzycznych, itp. Polecam wszystkim fanom ery Opheliac oraz EArcheologom ;)
« Ostatnia zmiana: 03 Lut 2013, 20:22:46 wysłana przez Ankh »
Wrogami nie są mężczyźni ani kobiety, ani starcy, ani nawet umarli. Są nimi potwornie głupi ludzie, którzy trafiają się we wszystkich odmianach. A nikt nie ma prawa być głupim.
Terry Pratchett