orkus septiembre 2006

Emilie Autumn in Orkus’s International Issue 4
(December/January 2006/2007)

Part 2/3
(it’s the only page from this issue I found online. Source: BatteredRose.net. if you have continuation and would like to share, contact with me!)

Transcription by me.

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All The Way To The Abyss

"I’m already looking forward to returning to these shows as solo artist and get another chance to lose my skirt on the way to the stage…" (Emilie Autumn on her appearences at the David Letterman show and the Tonight Show with Jay Leno)

The fate of Ophelia in Shakespeare’s tragedy Hamlet is one of the most realistic tales of woe of a woman in literature. Pushed around, rejected or abandoned by the men in her life she shought salvation by jumping into the floods and committing suicide. For Emilie Autumn, Ophelia’s story is much more than just a basic idea for a drama. To her mind, Ophelia is a reflection of many women in our modern society, oppressed by their surroundings, withering away. She named these women “Opheliacs” and recognises herself in their situation. After having talked about the historical background and the Ophelia motive, we’ll now direct our attention to the life of this exciting artist and the concept of her new album Opheliac.

Orkus: Emilie, apart from doing thousands of other things you even make all your outfits yourself. I assume that an average day in your life is characterised by a hectic schedule - but who needs spare time anyway, right?

Emilie Autumn: Yes, i’ve become a costume designer a couple of years ago, not only for myself and my band but also for other artists, customers or music video productions. I grew up in a costume store which was jam-packed from floor to ceilings with sequins and sewing machines, so there you go. Spare time? I strictly refuse to have any!

Q: Do you only wear your self-made outfits on stage or is there a chance one might see you like that in a supermarket as well?

EA: Almost everything I create, I wear also offstage. I love drapping fabrinc around a human shape and creating a piece of art. Nothing is more sensual that lacing up a corset, knowing that you’ve made it yourself so that it can fit your unique chest. Projects like that are just another vehicle for my creativity. Baking a vegan carrot cake is creative. Life is art, and art adds meaning to my life, that’s why I’ll continue to create things until the day I’ve got nothng more to say or do. That’s the day I will relax. Only then.

Q: So you don’t have a so-called “normal” life?

EA: No, my life is anything but normal.

Q: There are two other women in your live band. Please tell us more about them.

EA: I’d love to. One of them is Lady Joo Hee, the “centre of felicity”. She’s my great celist and concubine, I found her coiled up on my doorstep one night. When I invited her in, she pulled a cello out of her bag and we spent the night drinking and playing Mozart’s duets. Mistress Tristen of The netherworlds, on the other hand, is a Viking princess and a fantastic vocalist. She honours me with being my background singer and electronic priestess on stage. We call them “The Bloody Crumpets” and they allow me to jump around on stage, destroying my violin, taking off my clothes ans playing the cembalo with my feet, Afterwards we run around with our knickerbockers and make cotton candy.

Q: So there’s no space for men in the world of Emilie Autumn…

EA: No, not this time anyway, even though we’re more than happy to know that there are men in our audience. More than half of my fans are male according to my mailing list! My last band did only consist of guys ans I loved every single one of them dearly and the know that, too. But this album… well, there was no other possibility, I guess… I felt the need to besurrounded by some kind of sexual female energy to create Opheliac. I think you’ll see what I mean when you watch our show (smiles mischeviously).

Q: Why did you reject the offer od a major label to release Opheliac, trying your luck with a small undie label instead? Only few artists who would have done that.

EA: First of all I have to say that major labels have always been interested in me, probably because of my classical background, but most definitely because of my “hot chick in underwear” appeal. This time, however, I stopped negotiating about this record quickly; I also think that they were not interested in offering me the deal I was looking for. Talking of “the artist control”. In my opinion, they wouldn’t have had a clue what to do with Opheliac. This album was way too important to me to learn the hard way, therefore it was an easy decision to change course. My biggest reward is to be supported by people who understand the things I’m trying to create rather than putting money in the first place.