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Music: Emilie Autumn

Are you suffering!?

Emilie Autumn Liddell, born September 22 1979, is a gothic poet, singer/songwriter, violinist, harpsichordist, performance artist, feminist, and author. She's self-described as that she sounds "like the best cup of English Breakfast spiked with cyanide and smashed on your antique wallpaper." Well, OK then.

Of Emilie's life, very little is known at the moment. What we do know is that she started playing violin at the age of four, a talent that she has continued to this day, and that she voluntarily stayed away from most of the mainstream music communities (both classical and commercial) due to bad experiences and clashes within them: in fact, most of her albums were self-published by her own company. Her first album was On a Day..., a classical album released in 2000, when she was 20 or 21. The following year she put out the Chambermaid and By the Sword EPs. In 2003 her first full vocal album was released: Enchant, an album filled with a number of songs inspired by fairy tales. Also contained in this CD was the Enchant Puzzle, which no one has ever solved. This was the Enchant era, when Emilie was a faerie.

After going through an extremely awful period in her life that resulted in a suicide attempt and institutionalization, she was inspired to move in a different artistic direction. This began with the Opheliac EP, followed by full album Opheliac. This album was far darker than Enchant, and a reflection of Emilie's mental state, as this album was released as an agreement with herself that she'd make the album instead of killing herself. The songs are mostly about madness and suicide, particularly in water. Much of the album is influenced by William Shakespeare, as is made obvious by the title. Many of the songs are not written from the perspective of Emilie, but from Ophelia herself, the Lady of Shalott, and others. Later in 2007, she re-released Enchant along with A Bit o' This and That, which was a collection of previously unheard songs, re-mixes and tracks from older EPs. Also released that year was Laced/Unlaced. Laced was a re-release of On a Day, while Unlaced was an all-new collection of instrumental songs done in her newer style. In 2009 she was able to release her autobiography, The Asylum for Wayward Victorian Girls. She has also released The Opheliac Companion, which provides information and background about the songs on Opheliac.

The Opheliac era is what Emilie is most well known for. And from gaining more muffins (fans), she was able to make more and more theatrical tours which gained more and more theatrics tour by tour. Joining her on stage in the Asylum are her Bloody Crumpets, a group of lovely mad girls.

In 2012 she released another CD, Fight Like a Girl, which had been lingering in Development Hell for several years. Despite her initial promises that it was going to be "more metal" than Opheliac was, it ended up being a theatrical concept album based around the fictionalized Victorian story that appeared in The Asylum for Wayward Victorian Girls. According to Emilie, she intends to use the album as part of the soundtrack to the play she's currently writing about the book. The album has created a Broken Base in the fandom because of its differences from the highly popular Opheliac, and because the violin plays a much less significant role it in than it had in her previous music. Her current look and shows are generally referred to as the FLAG era by fans.

She appeared in "The Devil's Carnival", a short experimental film released in 2012 by the creators of Repo! The Genetic Opera- Darren Bousman and Terrance Zdunich. Playing the Painted Doll, she starred alongside a very diverse cast, including Clown from Slipnot, Alexa Vega, Paul Sorvino and two of her Crumpets, Captain Maggots and Contessa. With the success of the movie, she's due to reappear in subsequent sequels.

Releases:

Albums
  • On a Day... (1997, re-released in Laced/Unlaced in 2007)
  • Enchant (2003, re-released 2007)
  • Your Sugar Sits Untouched (2005, CD and poetry book)
  • Opheliac (2006, re-released 2009)
  • Laced/Unlaced (2007)
  • A Bit o' This & That (2007)
  • Fight Like A Girl (2012)

Extended Plays and Official Singles
  • Chambermaid (2001)
  • By the Sword (2001)
  • Opheliac EP (2006, preview EP)
  • Liar/Dead Is the New Alive (2006)
  • 4 o'Clock (2008)
  • Girls Just Wanna Have Fun & Bohemian Rhapsody (2008)
  • Fight Like A Girl/Time For Tea (2012)
Books

Emilie, her music and her writings contain examples of:

  • All There in the Manual: The meanings of the songs off Opheliac are explained in the Opheliac Companion.
  • Anachronism Stew: The harpsichord, a baroque instrument, is not the most conventional choice to complement a Victorian theme. In The Opheliac Companion, Emilie acknowledges and hand waves this by explaining that, just as present-day Emilie is "150 years retro", so too is her Victorian alter-ego, who would thus draw her inspiration from the early 1700s.
  • Arc Words: The phrases "tide coming in" and "water is rising" appears frequently in her songs, mostly in reference to suicide by drowning.
  • All Just a Dream: The Fight Like a Girl music video, except for the very beginning and the very end. The inmates being liberated and taking over the Ophelia Gallery turns out to be a fantasy of Emily's—but there is a sliver of hope at the end. Which, considering how the book ends, may just make it even sadder.
  • And Now For Something Completely Different: Suddenly starts rapping in "Opheliac".
  • Animate Body Parts: Emilie's pasties have their own facebook page
  • Arson, Murder, and Jaywalking: "And, by the way, your poetry sucks" from "I Know Where You Sleep".
  • Asexuality: Emilie used to identify as asexual, but she recently revealed to the press that she "never disliked sex, [she had] just never been with anyone who was any good at it". It would appear that she confused enjoying sex with sexual attraction, which, sadly for many asexuals, is a common misconception.
  • Aesop: Her one true message over her entire career has been one of Anti repression and taking control of your own life. (In a meta and in most of her songs sense)
  • Ax-Crazy: "Time For Tea", "Fight Like A Girl", "I Know Where You Sleep", "Scavenger", "We Want Them Young"
  • Award Bait Song: "What Will I Remember", given a reprise as "Start Another Story".
  • Battle Cry: Lampshaded a few times in Fight Like A Girl, Time For Tea and If I Burn
  • Bedlam House: The Asylum book contains letters from a girl in one of these places. Also her song "4 O'Clock" and "Miss Lucy Had Some Leeches" are both about the girls in these places.
    • "Fight Like A Girl" is the album which will serve as inspiration for either a movie or a stage show about her story, also set in a Bedlam House.
  • Be Yourself: What If and How Strange and arguably her empowerment/anti repression message.
  • Be Careful What You Wish For: Said verbatim in "I Know Where You Sleep"
  • Bi the Way: Has stated that she has been in relationships with both men and women.
  • Bitch in Sheep's Clothing: The whole premise of "Gentlemen Aren't Nice".
  • Bittersweet Ending: "One Foot in Front of the Other" as the final track to Fight Like A Girl. The war is won, but the liberated inmates reflect on their lack of ability to function in the wider world.
    • Making it even more bittersweet - it's implied from the context that the girls are, in fact, liberated in death.
  • Book Ends: Enchant begins and ends with the same music box tune.
  • Bowdlerisation: For a televised performance of "Misery Loves Company", Emilie needed a more family-friendly word to replace "fuckers". After fans gave their suggestions, the word "muffins" was decided upon, and thus was born a Fan Community Nickname.
  • Blessed with Suck / Cursed with Awesome: "Thank God I'm Pretty"
  • Bunny-Ears Lawyer: Despite flouncing around on stage dressed as an inmate in a Victorian Asylum, or in years gone by a faerie, there is little denying that Emilie is a top notch violinist.
  • Broken Bird: All of Opheliac, no exceptions; and much of Fight Like A Girl and Enchant.
  • Call Back: She's gone out of her way to make sure Opheliac and Fight Like A Girl are two related concept albums.
    • The middle eight of "Fight Like a Girl" is the same melody as the middle eight of "Misery Loves Company", albeit with different lyrics.
    • "Goodnight, Sweet Ladies" samples "4 O'Clock", "The Art of Suicide" and "If I Burn".
    • "Gaslight" calls back "Art Of Suicide" in its opening notes.
    • "I Don't Understand" refers to the "Opheliac" theme of the prior album.
    • "If I Burn" has a chant at the end which is the same style as "Let The Record Show" chant on "Opheliac"
    • "4 O clock Reprise" refers explicitly to a song which came out before Fight Like A Girl.
    • The various call backs within Fight Like A Girl Album. (What Will I Remember-Start Another Story, Gaslight-Gaslight reprise)
  • Careful With That Axe - several songs feature this on Opheliac. Examples include "I Want My Innocence Back", "Opheliac", "Misery Loves Company" and "I Know Where You Sleep", both featuring harsh yelling towards the end and "Liar" is practically made of this trope.
    • The end of "Take the Pill". "TAKE IT!! TAKE IT!! TAKE IT!! TAKE IT!! TAKE IT!! TAKE IT!! TAKE IT!! TAKE IT!! SWALLOW!!! SWALLOW!!! SWALLOW!!! SWALLOW!!!" SWALLOW!!! SWALLOW!!! SWALLOW!!! SWALLOW!!!"
    • And the acoustic version of "Mad Girl".
    • Fight Like A Girl album - rock opera will feature this trope a lot.
  • Clock Punk / Steam Punk: Probably not intentionally, but her neo-Victorian style and persona from Unlaced and Opheliac came at the same time the Steam Punk style is becoming very popular in goth circles and among cosplayers. She's often listed as a steampunk music artist as a result. Her current style also includes a lot of clockwork motifs, especially live. She has also described things that she makes and sells on eBay as "steampunk".
  • Cluster F-Bomb: Otten in her reviews she tends to do this, hilariously.
  • Celibate Hero: Does not have the time, does not want the time.
  • Cloud Cuckoolander: She spends her time being an inmate in a Victorian Asylum and used to be a faeire. Seriously.
  • Child Prodigy: Basically came out of the womb playing the Violin. (Technically since the age of 4)
  • Colbert Bump: The Unicorn hat became far harder to find after Emilie wore one.
  • Cover Version: She's done a fair share of covers. The covers that she has done are "I Don't Care Much" from Cabert, "I Know It's Over" originally by The Smiths, "All My Loving" by The Beatles, a harpsichord cover of "Always Look on the Bright Side of Life", "Girls Just Wanna Have Fun" by Cyndi Lauper and Queen's "Bohemian Rhapsody" which she sings on tour, "Gloomy Sunday" (without the second ending [which she refers to in "The Art of Suicide"]) orignally by László Jávor and Rezső Seress, "Yoshimi Battles the Pink Robots" by The Flaming Lips, and "Asleep" by The Smiths.
  • Cassandra Truth: A theme of her Fight Like A Girl/The Asylum For Wayward Victorian Girls projects.
  • Concept Album:
    • Opheliac disk 1: Scorned Women, Ophelia, Anti Suicide, Escapism, and Sexism/Anti Misogyny
    • Opheliac disk 2: Sexism/Anti Misogyny, Escapism, Suicide, and Insanity.
    • Fight Like A Girl: The horrors of the asylum, variously from the points of view of the inmates, their family members and the doctors.
  • Conversational Troping: Tropes in general are discussed in the Opheliac companion; specifically, the way Shakespeare and Tennyson didn't create any of the archetypes they popularised, but instead compiled these archetypes into a (figurative) book.
  • Central Theme: Even in her "Enchant" days she had this message that you are stronger then you think you are and you are not alone.
  • Creator Breakdown: Had a major one between Enchant and Opheliac which led to her attempting suicide and being put into a psych ward during the recording of Opheliac.
  • Creepy Monotone: "I Want My Innocence Back", "Scavenger", "We Want Them Young".
  • Dark and Troubled Past: From just not fitting in anywhere in the musical stratosphere for years to various situations which lead to the song Gothic Lolita...
  • Distinct Double Album: Laced/Unlaced. first album filled with her favourite classical violin works and the second half being electronic violin works.
  • Deadly Euphemism: "Time for Tea" refers not to tea, but to a bloody revolution. Don't, however, let this stop you from singing it when it actually is time for tea.
  • Deadpan Snarker: "Girls! Girls! Girls!"
  • Doo Wop Progression: "Find Me a Man"
  • Driven to Suicide: Suicide is a major theme of Opheliac (in case the name didn't clue you in), and Fight Like A Girl continues in the same vein.
  • Do Not Call Me Paul: She insists that her name is not nor has it ever been Emily Fritzges, despite fans receiving packages from her with this exact name on them. Mention this on her forum and you will be banned, but with use of the word filter Emily becomes Emilie and Fritzges becomes Liddell anyway.
  • Double Entendre: From Marry Me: "And when dining on peacock, I know I won't swallow"
  • Doing It for the Art: Alternative violinindustrial rock opera girl power continuer and so much more. Another indication of this is that all of her albums (at least in downloadable forms) are consistently priced at or around $10, even her double albums which have more than 20 tracks apiece.
  • Dye Hard: Emilie's pink or red hair that changes shade from dye to dye or wig to wig is integral to her image. Gel Hard she now wears a mohawk for her Fight Like A Girl tour shows.
  • Ethereal Choir: A Bit o' This and That makes great use of this, with "Hollow Like My Soul", "Find Me a Man" and "O Mistress Mine" each having an elaborate vocal harmony. Emilie's "girls", as she calls her multiple vocal tracks, also appear numerously on "Goodnight, Sweet Ladies".
  • Exactly What It Says on the Tin: "Naked Feminist Poetry" is 25 minutes of... well, guess.
  • Executive Meddling: The story behind this t-shirt: When Emilie Autumn was first trying to find a record deal, she had to talk with several record label executives, and every one of them invariably tried to rail her towards a more mainstream image. One of them was apparently so obnoxious and dismissive of anything she could say, Emilie allegedly abandoned the reunion to cool off and she came back after having write on the t-shirt she was wearing "Sorry, was I thinking again?". She eventually recorded her first albums under her own label, and between the first pieces of merch she sold was a replica of said tee.
  • Fading into the Next Song: "We Want Them Young" fades into "If I Burn". The lyrics are even connected. ("We Want Them Young" ends with the line "when will they fall, when will they BURN?"
  • The Fair Folk: Part of what inspired the "Enchant" album.
  • Fake Brit: Emilie affects an English accent in much of her work, particularly FLAG and Your Sugar Sits Untouched. She does a good job with it on the whole, although there's the occasional rhyme for which it's ill-suited ("thought"/"not" in "The Key", for example).
  • Fangirl: For The Smiths and Morrisey in particular.
  • Filler: FLAG has a few tracks a few fans could do without.
  • The Four Chords of Pop: "What If"
  • Gratuitous Panning:
    • "Shalott" has the harpsichord on the left and the vocals on the right.
    • Present in her cover of "Bohemian Rhapsody", faithfully to the original.
    • Pretty much all of her songs, really. She seems to love using it.
  • Hypocritical Humor: "Gentlemen Aren't Nice", in which the singer complains about her lover's displeasure "just because I won't agree to take his arm/And I occasionally forget his name."
  • Hope Spot: "Hell Is Empty" on "Fight Like A Girl".
    • "Misery Loves Company" on Opheliac.
  • I Call It Vera: All of EA's violins have names: The Dove, her baroque violin; Merlin her modern Victorian violin; and Elgar, her electric violin.
  • I Love the Dead: "Scavenger". The Squick is very intentional.
  • Ironic Echo: "Liar" is Emilie repeating back an ex-lover's words in a much more vindictive light.
  • Ironic Nursery Tune: "Miss Lucy Had Some Leeches", "4 O Clock"
  • Insane Equals Violent: In "I Don't Understand", Thomson is surprised that soft-spoken, borderline subservient Emily is considered "insane" and has to be chained down in a Bedlam House.
  • The Insomniac: "4 O'Clock" discusses her issues with insomnia.
  • I'm a Man, I Can't Help It: She does not approve of this excuse at all ("Gothic Lolita", "Let The Record Show", "Scavenger", "Girls! Girls! Girls!")
  • If I Had a Nickel: in "God Help Me"
    If I had a dollar for every time/I repented the sin but commit the same crime
    I'd be sitting on top of the world today
  • Instrumentals: Both discs of Laced/Unlaced, as well as "Dominant", "Ancient Grounds", "Gaslight Reprise", "4 O clock reprise" and various others.
  • Lampshaded Double Entendre: The asylum host in "Girls! Girls! Girls!":
    For a little extra on the side we can arrange for a slightly more "intimate" encounter... wink, wink...
  • Lampshade Hanging: Swallow and One Foot In Front Of The Other both lampshade how theatrical she is and how all her songs are about "pain and suffering".
  • Last-Second Word Swap: A Running Gag in the Opheliac companion album involves her sound guy Inkydust having his tea with a bit of "gin... ger".
  • Lolita Fashion: Her fashion style isn't exactly Lolita - it leans more towards "neo-Victorian", but she does appreciate the style. She has developed a cult following among some Lolita circles, many of whom dress up for her live shows.
  • Lolicon: Viciously deconstructed in "Gothic Lolita". In effect, she drew ire from the Lolita community for invoking the scene's biggest Berserk Button. It has since died down ever since she said that she was only referring to the book, but bringing up the song or its lyrical content around Lolita fashion fans is a very, very bad idea.
  • Limited Special Collector's Ultimate Edition: To date the only releases that have no re-release are the Chambermaid and By the Sword E Ps (but the two are on A Bit o' This and That). Most are just a limited edition digipack, and then a jewel case, but the re-release of Enchant has a story to bridge the gap between it and Opheliac and no Enchant puzzle. Then there is Opheliac. Oh God, Opheliac. First there was the two disc digipack. After it sold out, Emilie released a one disc jewel case version and after fans demanded the content from disc two of the limited edition a two disc digipack. Two years after the album was released in Europe, the album got a wide release in the US, with three more tracks exclusive to the issuing, and, finally, a third issuing with all tracks from the previous US edition, four songs recorded for that edition, excerpts from The Asylum, live videos and a video with her and her friend, fLee.
  • Lyrical Dissonance: Lots and lots. "Marry Me", "The Art Of Suicide", "Shalott", "Miss Lucy Had Some Leeches" and "My Fairweather Friend" are a few examples.
    • Don't Blame Me And HOW!
    • "Gaslight", "If I Burn", "What Will I Remember" in a similar way to "The Art Of Suicide/Shalott"
    • "4 O'Clock" a song about how insomnia is slowly killing her to the tune of a lullaby.
  • Lyrical Tic: She likes rolling her Rs. She also has her voice break intentionally a lot (like in "Liar" and "If I Burn"), usually when transitioning from normal singing to Careful With That Axe. (the voice break is a sign that she's going to scream at some point)
  • Madness Mantra: "God Help Me" 48 times in the end of a song counts.
    • "Are You Suffering?" except sung as an Ironic Echo of what an ex lover used to say to her.
    • "I Want My Innocence Back" is also repeated an extreme amount of times.
    • "I Want It" in the Angelspit remix of "Liar" is pretty significant as it changes the focus of the song all the way around.
    • "4'Clock" definitely..
    • "One Foot in front of the other" in many ways.
  • Madonna-Whore Complex: Lampshaded in Opheliac.
    She knows she either is
    A devil or an angel with no in between
    She speaks in the third person
    So she can forget that she's me
    • Also discussed in "Two Masks".
  • Male Gaze: Used on her in her first "Devils Carnival" promo video.
  • Meaningful Name: The last part of her stage name, "Liddell," is apparently taken from her maternal grandmother's maiden name. It seems oddly, and somewhat sadly, too, appropriate, considering the common characterisation of the world's most famous Liddell. She lampshades this fact in The Asylum for Wayward Victorian Girls.
    Emilie Autumn Liddell. Yes, THAT Liddell. You can see now why I don’t use that name.
  • Metal Scream: The Type 1 and Type 4 varieties.
  • Minsky Pickup: "Girls! Girls! Girls!" ends with the variant of this, true to the 19th century show tunes on which it is based.
  • Misandry Song: "Fight Like a Girl" and "Time for Tea" refer to a war against 49% of the world's population, although Emilie is careful never to explicitly exclude males. She even adds, "Even if you're only a boy, you can fight like a girl."
  • Misogyny Song: "Girls! Girls! Girls!" is this - sarcastically, of course.
  • Mohs Scale of Rock and Metal Hardness: Her music typically ranges from 0 to 5, with her more Industrial-styled songs creeping up to 6 or 7. The relentless distortion in the otherwise melodic "Face the Wall" places it at 9.
  • Mood Whiplash: The first minute or so "Opheliac" is nice classical-esque instrumental work. Then she starts singing, lyrics are a bit off but it's still more or less pleasant. Then the chorus kicks in and she starts screaming.
    • The violent, industrial/goth "Time For Tea" is followed by the ethereal Dream Pop-esque instrumental "4 O'clock Reprise". Then comes the showtunes-inspired "What Will I Remember?" - which is then followed by the harsh, gothic, feminist, anti-ableist Protest Song "Take The Pill".
  • Motor Mouth: Have you read her interviews...
    • I Know Where You Sleep, The Key, Opheliac,
  • Neoclassical Punk Zydeco Rockabilly: Enchant is already pretty difficult to describe, since it combines jazz, pop, and violins. For the time she released Opheliac she began to describe her music as "victoriandustrial" and "violindustrial". She's described as using elements of classical music, cabaret, electronica, industrial, glam rock with theatrics, and burlesque
  • New Sound Album: Enchant, Opheliac and Fight Like A Girl are each very different in style to the other two.
  • Nice Hat: She has quite a few.
  • Nightmare Fetishist: As any depressive worth their salt would be, Emilie too preys on the stuff of nightmares and makes them into lovely harpsichord- and violin-backed songs.
  • Noodle Implements: An interview in Fiend magazine has the answers to an undisclosed question posed to Emilie: "Crumpets, Angela Lansbury and a very large broom."
  • Nostalgic Musicbox:
    • The sound of one is the beginning of her song Gothic Lolita. The music-box starts to skip as the backing track gets more eerie.
    • "4 O'Clock" plays with this.
  • Non-Appearing Title: Her instrumentals, as well as songs such as "Rapunzel", "Juliet", and "Shalott".
    • Her debut vocal album doesn't feature the world "Enchant".
  • The Ophelia: Master trope of Opheliac, and mentioned in "I Don't Understand" as a call back. In the Opheliac Companion, Autumn defines an Opheliac as someone who is predisposed towards self-destruction.
  • Obsession Song: Be Silent Be Still, Opheliac and Liar has these under tones.
  • Ode to Intoxication: "Take the Pill" is an inversion.
  • One-Woman Wail: Touched on in a few of her songs, like Rose Red and the Blackbird remix of What If. In EA's case it's literally one woman, as she performs all of the main and backing vocals for her songs.
  • Pachelbel's Canon: The Other Wiki notes that as a child she would mentally play the piece each night to suppress her auditory hallucinations. The influence of it can be heard in several of her songs: "Save You" contains a few bars of the melody, and the ostinato from the piece is present in "Ancient Grounds" and "Let the Record Show".
  • Precision F-Strike: Used frequently and artfully.
  • Protest Song: Fight Like A Girl, Time For Tea, come to mind.
  • Perky Goth: Because goths have more fun, after all.
  • Piss Take Rap: The rapping section on "Opheliac" (the song), while not as bad as other examples, is still quite odd.
  • Point-and-Laugh Show: Heavily mocked in Girls! Girls! Girls!. The twist? The "show" is an asylum.
  • Posthumous Narration: "Let The Record Show". The Asylum ghosts also sing in several songs on "Fight Like A Girl".
  • The Power of Friendship:
    • Expressed in her relationship with the Bloody Crumpets.
    • "Across the Sky" is about this.
  • "The Reason You Suck" Speech: "I Know Where You Sleep" is just one long verbal bitchslap.
    • Don't Blame Me and how.
  • Rock Star Song: "Heard It All" to a degree.
  • Rock Opera: Fight Like A Girl is her retelling of The Asylum for Wayward Victorian Girls through a Concept Album.
  • Sanity Slippage Song: All of Opheliac, Unlaced and selections of Enchant.
    • What Will I Remember?, Gaslight, Hell Is Empty, Take The Pill and various moments in Fight Like A Girl.
  • Scary Musician, Harmless Music / Mean Character, Nice Actor:
    • She wears dreads, gothic clothing and puts out lots of songs related to bad things like death, rape and suicide. However, she has just as many happy classical violin solos and some genuinely light and happy love songs, in amongst the darkness.
    • Emilie's stage persona is that of a violent, insane girl locked in a Victorian madhouse. In Real Life, Emilie actually is mentally ill, but she is also a quiet, sweet Cloud Cuckoolander, bookworm and apparently a huge Star Wars geek.
  • Scunthorpe Problem: The word filter on her forum changes 'fans' to 'muffins'. This would be okay, except for when talking of, say, burlesque fans or anything similar.
    "She swung her burlesque muffins high..."
  • Self-Backing Vocalist: Any voice heard on any of her songs is Emilie.
    • With the exception of "Best Safety Lies In Fear", obviously. Then again, that's not so much a song as a remix of quotes from Hamlet.
  • Shout-Out:
    • Everything from her Britney Spears mike to her "Hells Is Others" on Misery Loves Company, helped by her thoroughly studying everything she wants to do.
    • The Word Salad Lyrics in "Swallow" ("Low tide and high tea, oyster's waiting for me...") refer to "Alice in Wonderland".
    • The titles of "Syringe" and "Face the Wall" are likely a shout-out to the scene in Terminator 2 in which Sarah Connor escapes from the mental institution. She holds the doctor hostage with a syringe in his neck, and orders a guard to face the wall.
    • Shout-Out to Shakespeare:
      • Opheliac is based on Ophelia from Hamlet, and the song of the same name directly quotes the play: "Doubt thou the stars are fire/Doubt thou the sun doth move..."
      • "Best Safety Lies In Fear" is a quote spoken by Laertes in Hamlet, as are all the other lines in that song.
      • "Goodnight Sweet Ladies" also takes its name from one of Ophelia's lines; the use of rosemary for remembrance is also another reference to the same scene.
      • "O Mistress Mine" is based on a song from Twelfth Night.
      • Twelfth Night contains the line "Some are born great, some achieve greatness, and some have greatness thrust upon them." Replace "great" with "mad", and you've got a line from "Girls! Girls! Girls!"
  • See You in Hell: "If I Burn, SO WILL YOU"
  • Self Empowerment Anthem: Heard It All, What If, both of Enchant.
  • Silly Love Songs: "Remember", "Juliet", "Across the Sky", "Castle Down", "Crazy He Calls Me", "All My Loving".
  • So Beautiful, It's a Curse: "Thank God I'm Pretty".
  • Sonnet: Your Sugar Sits Untouched contains several, although they are ten lines long instead of the more usual fourteen.
  • So What Do We Do Now?: "One Foot In Front Of The Other" is a really, really bittersweet example. The Asylum characters literally have no idea what to do - not because they liked fighting, but because they have no lives outside of captivity, and are too unstable and broken to ever be able to function in normal society. "We've been committed - now to what do we all commit?" They change the Asylum into a place where they can live in sanctuary from the outside world until the building collapses leading to the death of all of them.
  • Studio Chatter: "Let The Record Show" starts with a three-second conversation: "How was that?" "Good."
  • Subdued Section:
    • "Remember", everything except for the drum machine cuts out in the third verse.
    • "Fight Like A Girl".
  • Subverted Rhyme Every Occasion:
    • "Miss Lucy Had Some Leeches", as an adaptation of "Miss Susie Had a Steamboat".
    • "What Will I Remember" has a (non-risqué) double-subverted rhyme.
      Is my story over
      If I fall asleep
      Would anybody find me?
      And w—
      —ould anybody weep?
  • Surprisingly Gentle Song: "Shalott" and "The Art of Suicide" on Opheliac. Still full of Lyrical Dissonance, though, considering that both are about death.
    • "If I Burn", "What Will I Remember", "I Don't Understand", "Gaslight" on Fight Like A Girl.
      • "If I Burn" actually zig-zags wildly between being gentle ("but the softer I become, the harder your machines close over me") and being outright violent ("when you sleep, you'll feel my icy fingers crawling down your back"), culminating in the "but it's never over!" part.
  • Survival Mantra: "One foot in front of the other foot in front of the one foot in front of the other..."
  • Suspiciously Specific Denial: "Girls! Girls! Girls!".
    We've something here for everyone's enjoyment/I do this as a gift, not for employment/A portrait of insanity, approach with your humanity.
  • Spot of Tea: Medicate With Tea, Tea Will Rock You and uses to be a signicant part of her Victorian style dinner theatre shows with her drinking it often. She also sells her own tea.
  • Stupid Statement Dance Mix: "Best Safety Lies in Fear" is this with Hamlet as the source material, so the "stupid" is in name only.
  • Take That Me: The lyrics of "Shalott": "And she cried out, 'So the story fits/but then, I could have guessed it all along/and now some drama queen is gonna write a song for me.'"
    • The lyrics of "Swallow": "I'll tell the truth/ all of my songs/ are pretty much/ the fucking same."
    • During some of her videos she does lampshade how insane her stage shows, outfits and otherwise are.
  • Take That: Basically Opheliac with few exceptions. Basically "Fight Like A Girl" no exceptions.
  • Taking You with Me: Implied in "If I Burn", "Time For Tea" and "Fight Like A Girl".
    • "Let The Record Show", as well.
  • There Are No Therapists: Well, actually, there are, but they're terrible at their jobs. In Emilie's case, she was sexually abused during her institutionalisation, but no-one would believe her because "you're the crazy girl and he's the doctor with the million dollar education".
  • Title Drop: The title of Your Sugar Sits Untouched comes from her poem Ghost
    if one day your sugar sits untouched
    will you have gone forever
  • Title Track: Fight Like A Girl and Opheliac have one.
  • ...And That Little Girl Was Me:
    • Opheliac invokes this
      she can forget that she's me
    • And then, in "Time for Tea"...
      I am that little girl, I have that little curl/Right in the middle of my forehead...
  • Title by Number: "306"
  • Title Only Chorus: "Liar"
  • Third-Person Person: Invoked in Opheliac
    She speaks in third person so that she can forget she's me
  • Uncanny Valley Makeup
  • Villain Song: "Scavenger".
  • Woman Scorned: A major theme of Opheliac and Fight Like A Girl.
  • Word Salad Lyrics: From "Swallow": "Low tide and high tea, the oysters waiting for me, if I'm not there on time, I'll send my emissary". Might be a Shout-Out to Alice in Wonderland, though.
  • Yandere: "Liar", "Opheliac", "Remember" (Change your name a thousand times)
  • You Are Not Alone: Covered in her anti bullying video, and a greater message of her music and her stage shows and herself, and her relationship with her fans.
  • You Dirty Rat: Averted. Emilie has kept pet rats and advocates against their use in laboratory testing. Her fans are also affectionately known as "Plague Rats."

Her concerts contain examples of:


I want your beautiful suffering, I want to see your 'PAIN!!!'
As I Lay DyingTurnOfTheMillennium/MusicAyria
Ricardo ArjonaMusic Of The 1990sAvantasia
The WigglesMusiciansCarl Michael Bellman
EvanescenceThe New TensFlorence + the Machine

alternative title(s): Emilie Autumn
random
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