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Amanda Palmer & The Grand Theft Orchestra ¤ Theatre Is Evil (Kickstarter Deluxe Digital Album) (2012)

Amanda Palmer & The Grand Theft Orchestra ¤ Theatre Is Evil (Kickstarter Deluxe Digital Album) (2012)

Amanda Palmer & The Grand Theft Orchestra ¤ Theatre Is Evil (Kickstarter Deluxe Digital Album) (2012)

Amanda Palmer & The Grand Theft Orchestra Theatre Is Evil (Kickstarter Deluxe Digital Album) 
Location: Boston, Massachusetts 
Album release: September 10, 2012
Record Label: 8 Ft. Records
Duration:     108:17
Birth name: Amanda MacKinnon Palmer
Also known as: Amanda Fucking Palmer
Born: April 30, 1976, New York City
Genres: Alternative rock, punk cabaret
Occupations: Artist, performer, musician, songwriter
Instruments: Vocals, keyboard, piano, ukulele

01. "Meow Meow Introduces The Grand Theft Orchestra"   0:18   /   Featuring – Meow Meow (3)  
02. "Smile (Pictures or It Didn't Happen)"   6:27
03. "The Killing Type"   4:29
04. "Do It with a Rockstar"   4:25
05. "Want It Back"   4:09
06. "Grown Man Cry"   5:16
07. "Trout Heart Replica"   7:09   /   Arranged By [Orchestra Arrangement] – Jherek Bischoff
Bass [Acoustic Bass] – Jherek Bischoff
Cello – Maria Scherer Wilson*
Percussion [Concert Bass Drum] – Paul Kikuchi
Viola – Alex Guy
Violin [Violin 1 & 2] – Paris Hurley  
08. "A Grand Theft Intermission"   2:07   /   Arranged By [Orchestra Arrangement] – Jherek Bischoff
Cello – Maria Scherer Wilson*
Horns – Benjamin Gillespie, Eamon McNelis, Mick Fraser, Paul Willy (2), Phil Noy
Viola – Alex Guy
Violin [Violin 1 & 2] – Paris Hurley
Written-By – Jherek Bischoff  
09. "Lost"   4:31
10. "Bottomfeeder"   6:13
11. "The Bed Song"   6:07
12. "Massachusetts Avenue"   4:40   /   Arranged By [Horn Arrangements] – Chad Raines; Horns – Benjamin Gillespie, Eamon McNelis, Mick Fraser, Paul Willy (2), Phil Noy  
13. "Melody Dean"   4:02
14. "Berlin"   7:17   /   Arranged By [Horn Arrangements] – Chad Raines
Horns – Benjamin Gillespie, Eamon McNelis, Mick Fraser, Paul Willy (2), Phil Noy  
15. "Olly Olly Oxen Free"   4:06   /   Arranged By [Horn Arrangements] – Chad Raines; Horns – Benjamin Gillespie, Eamon McNelis, Mick Fraser, Paul Willy (2), Phil Noy  
16. "Denial Thing"   2:57
17. "The Living Room"   7:12
18. "Ukulele Anthem"   5:32
19. "From St. Kilda To Fitzroy"   4:55
20. "Video Games (ft. Dot AY)"   5:00
21. "Provanity"   3:58
22. "Assistant"   4:41
23. "Not Mine"   2:52   /   Companies etc.:
Produced At – Sing Sing Studios
Engineered At – Sing Sing Studios
Mixed At – Elmwood Studios
Mastered At – Sterling Sound
Phonographic Copyright (p) – 8ft. Records
 © – 8ft. Records
Published By – Eight Foot Music
Published By – Tallinn Tallsman and Sons
Artwork [Berlin, Page 12] – Rick Berry (3)
Artwork [Bottomfeeder, Page 9] – Blake Brasher
Artwork [Lost, Page 8] – Sarah Beetson
Artwork [Massachusetts Ave, Page 11] – Sylvia K
Artwork [Portrait Of Amanda, Page 4] – Cassandra Long
Artwork [Portrait Of Amanda, Page 7] – David Mack (2)
Artwork [Portrait Of Amanda/massachusetts Avenue, Page 1] – Desi (8)
Artwork [The Living Room, Page 14] – Megan Howland*
Artwork [The Secrets We Hid In The Night (portrait Of Amanda), Page 13] – Frances Bean Cobain*
Artwork [Theatre Is Evil (portrait Of Amanda), Page 2] – Nicole Duennebier
Artwork [Trout Heart Replica, Page 6] – Vladimir Zimakov
Engineer [Assistant Engineer] – Adam Dobos
Layout, Design [Package] – Andrew Nelson (3)
Photography By [Live Photo Of Amanda, Page 16] – Rene Huemer
Photography By [Photo Of The Grand Theft Orchestra, Page 3; The Bed Song, Page 10] – Kyle Cassidy
Producer, Engineer, Mixed By – John Congleton
Vocals, Double Bass [Upright Bass], Guitar – Jherek Bischoff
Vocals, Drums, Percussion, Programmed By – Michael McQuilken
Vocals, Guitar, Trumpet, Keyboards, Programmed By – Chad Raines
Vocals, Piano, Synthesizer – Amanda Fucking Palmer*
Written-By – Amanda Palmer (tracks: 1 to 7, 9 to 23)
Kickstarter Download.
Download includes;
Theatre Is Evil Kickstarter Digital Booklet.pdf
Theatre Is Evil Stencil.pdf
Tracks 16 to 18 are listed as B-sides.
Produced and Engineered at Sing Sing Studios (Melbourne, Australia), mixed at Elmwood Studios (Dallas, TX), mastered at Sterling Sound (New New, NY).
All songs written by Amanda Palmer, published by Eight Foot Music (ASCAP) except "A Grand Theft Intermission" by Jherek Bischoff, published by Tallinn Tallsman and Sons (BMI).
© & ℗ 2012 8ft. records  
Producer: John Congleton
¬ John Congleton (born April 5, 1977 in Lubbock, Texas, United States) is a Grammy-nominated producer/engineer/mixer who produced his own band, The Paper Chase, and many other artists. He is managed by Adam Katz of Next Wave Management in Los Angeles. He is a part owner of Elmwood Recording.
¬ In addition to his production work Congleton fronted the indie rock band, The Paper Chase, and writes music for a newer project entitled The Nighty Nite and music for various projects, including MTV's Jackass, the Discovery Channel, and several Halloween sound effects/music CDs.
 / Website: http://music.amandapalmer.net / Facebook: http://www.facebook.com/amandapalmer
¬ Theatre Is Evil is the newest studio album by Amanda Palmer & The Grand Theft Orchestra produced by John Congleton and has been released by Palmer's own record label, 8 Ft. Records. The album has been written over the four years since she made her solo debut with Who Killed Amanda Palmer in 2008, and the recording and release process was funded by a Kickstarter project that raised a total of over $1.1 million.
By Richard Marcus, BLOGCRITICS.ORG
Published 6:00 a.m., Sunday, September 9, 2012
¬ No matter how many different genres anyone wants to claim there are, when it comes to pop music everything's starting to sound pretty much the same to me. They should come up a new genre called "safe music for radio" and just get it over with. Sounds sort of like country, sort of like pop, sort of like dance, and nothing like anything really. However, once in a while you get somebody like Amanda Palmer, better known as Amanda "Fucking" Palmer or AFP for short, who genuinely has no respect for conventions, genres or anything else that would make it easy to pigeonhole her into some sort of category. If you were to try and describe her music up until now, you could say she's that ukulele strumming, keyboard playing, cabaret style singer from The Dresdon Dolls.

 © Kenny Thomas
¬ Which of course doesn't really tell you anything at all about her. Just some facts. She was also in a production of the musical Cabaret put on by the American Repertory Theatre playing the role of Master of Ceremonies. Whether that makes her a cabaret style singer, I don't know, but she does have an amazing voice. It can float between a caress and a battle cry in a second. She can charm the pants off you one moment and burn paint off a battleship in the next. She soars up the scale like a mezzo soprano at The Met and growls out lyrics like she learned how to sing at the knee of Johnny Rotten. On the couple of solo recordings I've heard up until now, the music hasn't been very elaborate as she's been primarily on her own and there's only so much you can do with keyboards and ukulele. However, that's all changed with the release of her new disc, Theatre Is Evil, on her own 8 ft. Records label (funded entirely by one of the most successful Kickstarter campaigns ever) September 11 2012, as she's now Amanda Palmer and the Grand Theft Orchestra. (A note on the release's title: she chose to go with the British spelling of the word theatre, so it's not my Canadian chauvinism changing the spelling.)
¬ I think I'm being quite honest when I say I've not heard anything like this disc before. I've only heard an online stream so far, so these are only my first impressions. It felt like listening to the soundtrack from some wonderfully anarchic musical. Something set in a basement nightclub in Paris during the decadent desperate period just before a war, any war. When everybody is living their lives to the utmost because they don't know what the world has in store for them. There's something slightly dark and sensual about the music, while at the same time the feeling is of an unqualified celebration of being alive. A life being led on a knife's edge might be a little more dangerous but it also lets you know you're alive. Listening to Theatre Is Evil is far more dangerous than the music you normally hear, but it lets you know you're alive.
¬ The album itself is laid out like a performance, complete with an opening introduction to the Grand Theft Orchestra and a piece of intermission music at the half way point. Whether you want to get up and stretch your legs, take a pee break, or go to the bar and have a cigarette, the choice is yours. However it does give you a chance to pause the disc and digest what you've heard before proceeding onto the second half of the show. Believe me, you'll be grateful for the break. Musically, emotionally, and intellectually, this is one of the most intense recordings you'll be listening to this year, or in any number of years to come. For these are multi-layered and intricate songs with much more to them than meets the eye or ear. (Fortaken:  http://www.seattlepi.com) seattlepi.com
Review by Ellen Eldridge
¬ A strong well-spoken woman with a curse word for a middle name stands out as a woman I want to love. I’ll admit that I never heard The Dresden Dolls; my first introduction to Amanda Palmer came from her cover of Nirvana’s “Polly,” and my intense curiosity grew out of the discovery that she married Neil Gaiman in 2011. I knew I wanted to love her as I eagerly awaited a chance to hear her sophomore solo release—with The Grand Theft Orchestra—called Theatre Is Evil.
¬ Happily, Palmer creates a metaphorically thematic piece of musical theater quite the opposite of “evil.” She and The Grand Theft Orchestra introduce us, wine us and dine us to a smattering of songs recalling many of the styles that inspired an audience of women and men close in age to the songwriter.
¬ Between the swelling and ultimate feeling of wanting to crumble beneath Palmer’s melodies, songs including “Smile (Pictures or It Didn’t Happen)” create picturesque memories recalling songs on The Cure’s Disintegration.
“The Killing Time,” track two, instantly places the listener back into the 1980s with techno-electronic beats permeating the background. The love affair with Amanda Palmer and the Grand Theft Orchestra builds track by track showing splices of inspiration from many of the musical outlets that colored the experience of someone born mid ‘70s—as Palmer herself was. By the time the strong chorus kicks in with the song title lyrics, the listener feels more compelled to pay attention. If the melody hasn’t hooked the listener by “The Killing Time,” “Do It with a Rockstar” creeps in with swelling music that breaks to allow Palmer’s voice to ring out a cappella for just a line or two. Her range hits its upper regions and starts to prove her a worthy leader, which is furthered by the incredibly catchy rhythms that convince the listener to try to sing along in “Want It Back.”  © Beth Hommel
¬ The vibe remains hopeful and decidedly reminiscent of those ‘80s songs again, but the true beauty of Theatre Is Evil rains down in the songs that capture the essence of the first half of the album, “Grown Man Cry” and “Trout Heart Replica.” The electronic heartbeat pulses time while Palmer’s voice crescendos singing “to see a grown man cry,” and creates such a succinctly serene symphony that anyone who hasn’t given his or her ears and mind over completely needs to start the track over.
¬ “Grown Man Cry” was the first track on the album to really catch my attention and laud over me a sense of pity and hope—without even fully knowing all the lyrics. The idea of the music works as a metaphor to begin to think about the impression of a man strong enough to cry, but the last line that states the narrator has “simply given up on you” indicates the theme may relate more to the idea of a weaker man crying though he is grown. In either case, the circling sounds of piano and Palmer’s lyrics introducing “Trout Heart Replica” instantly scream Tori Amos, but this track starts to pull Theatre Is Evil out of its ‘80s-inspired voice and into a better-rounded piece of musical theater.

¬ Another crucial aspect to acknowledge in reviewing Palmer’s sophomore solo release is that the album is divided into acts where, after the introduction called “Meow Meow Introduces The Grand Theft Orchestra,” tracks two through seven work as Act One concluding after “Trout Heart Replica” with the “Grand Theft Intermission.” The entire album concludes after its fourteenth track, “Berlin,” which is the second song of more than seven minutes. “Grown Man Cry” is the first and only other song to last as long.
¬ Act Two begins after the grunge-inspired “A Grand Theft Intermission,” with “Lost.” A superficial examination of the lyrics show a song about losing a wallet, but the metaphor extends as the music strays wildly from the songs in the first half of the album. “Lost” hits harder and feels much more modern with accentuation on the guitar riffs rather than the keyboards in the earlier songs.
¬ Coursing through Theatre Is Evil a time or two only proves to the listener that he or she needs to delve more deeply into the lyrics, metaphors and musical heartbeats. Anyone who gets a chance should catch Amanda Palmer and The Grand Theft Orchestra on tour.
(Fortaken: http://www.atlantamusicguide.com) © Andrius Lipsys File:Amanda Palmer - Arena Vienna 2011 a10 Neil Gaiman.jpg © Amanda Palmer and Neil Gaiman during an interview for ORF radio before a concert at the Arena in Vienna, Austria. (September 06, 2011 / Author: Manfred Werner)

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