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Editorial Reviews
Singer, songwriter, piano-slayer and super blogger Amanda Palmer is preparing to release her first new studio album in four years, in conjunction with her new band, The Grand Theft Orchestra, featuring Michael McQuilken, Chad Raines, and Jherek Bishoff. Entitled THEATRE IS EVIL, the album was recently recorded in Melbourne with producer John Congleton (St. Vincent, Murder By Death, Modest Mouse, Xiu Xiu).
Palmer and GTO will embark on a six-city summer tour, unveiling the new album as a series of intimate performances alongside a dynamic visual art exhibit featuring thirty contemporary artists including Francis Bean Cobain, Shepard Fairey, Kristin Hersh (Throwing Muses), David Mack, and Cynthia Von Buhler.
Arguably her most pop-influenced album yet, THEATRE IS EVIL showcases Amanda's powerful vocals and talented songwriting in ways that might purprise even her most ardent fans. Written over the course of several years (since the release of her last studio album, WHO KILLED AMANDA PALMER), the album offers a collection of sounds and rhythms heavily influenced by the music Palmer grew up listening to - most notably 80's synth rock and Brit Pop.
True to form, the undispted queen of crowd-sourcing and fan engagement enlisted her community of loyal supporters to launch her ambitious global release, selling nearly 25,000 copies of her new album in multiple formats via Kickstarter, along with a variety of unique merch items including hand-painted turntables, two different coffee table art books featuring art from the group exhibit, and numerous Amanda Palmer experiences. All told, Palmer's pre-sales have already earned the artist over $1 million, garnering accolades from the likes of Forbes, CNN, The New York Times, and The Economist.
Palmer and GTO will embark on a six-city summer tour, unveiling the new album as a series of intimate performances alongside a dynamic visual art exhibit featuring thirty contemporary artists including Francis Bean Cobain, Shepard Fairey, Kristin Hersh (Throwing Muses), David Mack, and Cynthia Von Buhler.
Arguably her most pop-influenced album yet, THEATRE IS EVIL showcases Amanda's powerful vocals and talented songwriting in ways that might purprise even her most ardent fans. Written over the course of several years (since the release of her last studio album, WHO KILLED AMANDA PALMER), the album offers a collection of sounds and rhythms heavily influenced by the music Palmer grew up listening to - most notably 80's synth rock and Brit Pop.
True to form, the undispted queen of crowd-sourcing and fan engagement enlisted her community of loyal supporters to launch her ambitious global release, selling nearly 25,000 copies of her new album in multiple formats via Kickstarter, along with a variety of unique merch items including hand-painted turntables, two different coffee table art books featuring art from the group exhibit, and numerous Amanda Palmer experiences. All told, Palmer's pre-sales have already earned the artist over $1 million, garnering accolades from the likes of Forbes, CNN, The New York Times, and The Economist.
Customer Reviews
Most Helpful Customer Reviews
31 of 32 people found the following review helpful
Format:MP3 Music
I absolutely love this album. It was hard for me to finish it; I kept reaching back at previous songs to hear them all over again. Amanda Palmer's THEATER IS EVIL full of spectacular moments of parody, irony, and sincerity. She's never been one to be subtle, and with her newly freed canvas, she (and the Grand Theft Orchestra) paints in some of the biggest strokes possible.
Amanda Palmer has got to be one of the most polarizing figures in music right now: I don't know if I can think of anyone else that divides music fans in the way she does. Some listeners love the strangeness of The Dresden Dolls, while others found it gimmicky. She's got a huge following, to be sure; THEATER IS EVIL is an album funded almost entirely by her fans. By using the crowd-sourcing website Kickstarter, she was able to raise over a million dollars so that she could have complete control over her music (unlike with her previous record label, Roadrunner Records). Based on this, I didn't know what to expect: will it be overly self-indulgent? Will it be a crowd-pleaser? Will it continue her work from her last full-length studio album, WHO KILLED AMANDA PALMER?
This record feels like modern-day glam rock (and I mean this is the best possible way). Similar to David Bowie or T. Rex, THEATER IS EVIL has style and attitude on its mind, but it never sacrifices its melody in sake of these things. The album is littered with different genres, moods, and ideas -- it feels listeners constantly guessing what's coming next.
The album's opener, "Smile (Pictures or it Didn't Happen)" is a perfect indicator of where this album is headed: it's a synthesizer-washed, poppy track that name-checks Instagram and the popular internet adage "Pictures, or it didn't happen." The leading single for the album, "Do it With a Rockstar" is a tongue-in-cheek rocker that pushes the volume to the maximum - it has soaring harmonies and melodies, and the song just feels ridiculously audacious. The following track, "Want it Back" feels a bit more like Palmer's previous work: it's piano-based and features her propulsive vocal delivery. It's a song that refuses to waste any time, and it's chock-full of Palmer's smart, playful lyricism (be sure to check out the fascinating, but rated R, music video). "Grown Man Cry" feels like a curve-ball - the track harkens back to the New-Wave of the 80's.
The quieter moments on this album are just as good as the loud ones: "Trout Heart Replica," a song inspired by events with future-husband Neil Gaiman, is upwards of 7 minutes long, but its lyrics are intimate and personal. "The Bed Song" features only Palmer and her piano. Here, she almost whispers through some of the verses over the formal piano accompaniment. The lyrics feel more personal than ever, capturing specific moments in a relationship between two lost people. It's a nice moment on the record, and one that stands out amidst some of the busier songs on THEATER IS EVIL. "Massachusetts Avenue" works itself up into a louder song, filled with thumping bass and synthesizers.
"Melody Dean" feels like an old-school rock song in the vein of The Knack's "My Sharona," (also explicitly referenced here) and it has one of the most telling lyrics: "I never put my foot in the same river twice / I don't like getting wet." On THEATER IS EVIL, she manages to never step in the same river more than once. The penultimate track, "Berlin" features saxophones, giving the song a grandiose feel to back the paranoid attitude Palmer presents here. The song changes styles and tempo and meters effortlessly -- it all feels instinctual, like the singer/songwriter is working completely from her gut. It works perfectly.
At 15 tracks, there's plenty of music here to enjoy. THEATER IS EVIL feels like a grab bag of ideas and styles; this record covers so much musical ground, but it is all centered around Amanda Palmer's knack for melody and her ability to sell it. Free from a record-label, this album feels like Palmer can finally achieve the creative heights she's wanted to. I would recommend this album highly to fans of Amanda Palmer (and even David Bowie). It's hard not to get caught up in this album's audacious spirit. Essential tracks to sample/download: "Want It Back," "The Killing Type [Explicit]," "Berlin" and "The Bed Song."
Amanda Palmer has got to be one of the most polarizing figures in music right now: I don't know if I can think of anyone else that divides music fans in the way she does. Some listeners love the strangeness of The Dresden Dolls, while others found it gimmicky. She's got a huge following, to be sure; THEATER IS EVIL is an album funded almost entirely by her fans. By using the crowd-sourcing website Kickstarter, she was able to raise over a million dollars so that she could have complete control over her music (unlike with her previous record label, Roadrunner Records). Based on this, I didn't know what to expect: will it be overly self-indulgent? Will it be a crowd-pleaser? Will it continue her work from her last full-length studio album, WHO KILLED AMANDA PALMER?
This record feels like modern-day glam rock (and I mean this is the best possible way). Similar to David Bowie or T. Rex, THEATER IS EVIL has style and attitude on its mind, but it never sacrifices its melody in sake of these things. The album is littered with different genres, moods, and ideas -- it feels listeners constantly guessing what's coming next.
The album's opener, "Smile (Pictures or it Didn't Happen)" is a perfect indicator of where this album is headed: it's a synthesizer-washed, poppy track that name-checks Instagram and the popular internet adage "Pictures, or it didn't happen." The leading single for the album, "Do it With a Rockstar" is a tongue-in-cheek rocker that pushes the volume to the maximum - it has soaring harmonies and melodies, and the song just feels ridiculously audacious. The following track, "Want it Back" feels a bit more like Palmer's previous work: it's piano-based and features her propulsive vocal delivery. It's a song that refuses to waste any time, and it's chock-full of Palmer's smart, playful lyricism (be sure to check out the fascinating, but rated R, music video). "Grown Man Cry" feels like a curve-ball - the track harkens back to the New-Wave of the 80's.
The quieter moments on this album are just as good as the loud ones: "Trout Heart Replica," a song inspired by events with future-husband Neil Gaiman, is upwards of 7 minutes long, but its lyrics are intimate and personal. "The Bed Song" features only Palmer and her piano. Here, she almost whispers through some of the verses over the formal piano accompaniment. The lyrics feel more personal than ever, capturing specific moments in a relationship between two lost people. It's a nice moment on the record, and one that stands out amidst some of the busier songs on THEATER IS EVIL. "Massachusetts Avenue" works itself up into a louder song, filled with thumping bass and synthesizers.
"Melody Dean" feels like an old-school rock song in the vein of The Knack's "My Sharona," (also explicitly referenced here) and it has one of the most telling lyrics: "I never put my foot in the same river twice / I don't like getting wet." On THEATER IS EVIL, she manages to never step in the same river more than once. The penultimate track, "Berlin" features saxophones, giving the song a grandiose feel to back the paranoid attitude Palmer presents here. The song changes styles and tempo and meters effortlessly -- it all feels instinctual, like the singer/songwriter is working completely from her gut. It works perfectly.
At 15 tracks, there's plenty of music here to enjoy. THEATER IS EVIL feels like a grab bag of ideas and styles; this record covers so much musical ground, but it is all centered around Amanda Palmer's knack for melody and her ability to sell it. Free from a record-label, this album feels like Palmer can finally achieve the creative heights she's wanted to. I would recommend this album highly to fans of Amanda Palmer (and even David Bowie). It's hard not to get caught up in this album's audacious spirit. Essential tracks to sample/download: "Want It Back," "The Killing Type [Explicit]," "Berlin" and "The Bed Song."
11 of 12 people found the following review helpful
By snarkinator
Format:MP3 Music
It's all here, Amanda F'in Palmer in her glory, firing her freaky, red-hot art straight into your soul. She channels glam rock, new wave, punk, and the circus. She relives the post-apocalyptic cabaret hangover of the Dresden Dolls. But most of all, she brings a big, crackling thunderburst of Amanda, a real live human being who is beautiful and strange, broken and vulnerable and exactly like you. She is screaming and half-naked. She is covered in jewels. She has lost her wallet.
This album is a tour de force from a woman who has seen the future of art. She walked away from the recording industry and turned to her fans. Through Kickstarter, she did the impossible: created art from the people and for the people, with no strings attached.
Theatre Is Evil is Amanda Palmer's love letter to her fans. It's more than just music. It will make you smile, it will make you dream, it will make you want to live.
This album is a tour de force from a woman who has seen the future of art. She walked away from the recording industry and turned to her fans. Through Kickstarter, she did the impossible: created art from the people and for the people, with no strings attached.
Theatre Is Evil is Amanda Palmer's love letter to her fans. It's more than just music. It will make you smile, it will make you dream, it will make you want to live.
29 of 37 people found the following review helpful
By Madeline
Format:Audio CD
It was in middle school when I first started streaming music on the internet. Suddenly a whole world opened up that wasn't just mainstream radio, my friend's limited collections or my parent's old Dylan records. I distinctly remember listening to my first Dresden Dolls song "Shores of California." Despite believing myself shock proof (mainly due to years of staying up late sneaking in hours of my local rap station), I was stunned at the lyrical content. Yes, I had heard the Stones singing about how they couldn't get no satisfaction and Eminem rapping about slitting his wife's throat---but songs like those just didn't resonate with me. As a 12 year old, those weren't exactly my life experiences therefore it was easy to dismissive and nonchalant.
But Amanda... Amanda wrote about those first relationships, friends getting pregnant, girls masturbating--and all the angst and loneliness that's practically a teenage rite of passage. It was real. It resonated. And it was catchy as all get out. I followed Amanda's journey to become a successful solo musician after the Dolls went on hiatus---and again was almost overcome with the beauty, passion, and attention to almost mundane yet so poignant stories about life. The tremendously talented Ben Folds played a huge part in lifting Amanda's debut "Who Killed Amanda Palmer" into stratospheric levels for me. It crashed, wailed, whispered and wept. I was captivated.
I was so excited about what I was sure was going to be years of quality, creative music. Then Amanda ran afoul of her record label undergoing a long battle to be let of of her contract. In the meantime, she released a bunch of Radiohead ukulele covers, a circus cabaret inspired faux conjoined twin affair with Jason Webley, and a poor quality series of songs about Australia. I was not impressed. I never doubted Amanda's talent--it was just no longer my thing. I can't stand the ukulele and think Radiohead is overrated. Still, I had hope for the day when Amanda would return to the studio and put out another "real" album. Today is that day.
In the months leading up to September, Amanda and her team put together a massive Kickstarter campaign which eventually led to history being made and over a million dollars being raised to help fund the record/promotion/upcoming world tour (a monetary first for a musician on Kickstarter). As a Kickstarter backer, I've had access to several of the songs of the new album for weeks. I was excited about her finally having a full backing band instead of just a drummer--but was curious as to how a fuller sound would affect her very distinctive style of driving, stripped, relatively simple piano arrangements. I believe she first leaked the energetic yet ultimately flat "Do It With a Rockstar." Honestly, I think the melody just got on my nerves--but I was scared that Amanda had gotten lost in experimenting with a new band.
Then she released the epic seven minute long "Trout Heart Replica." While in the beginning stages of her relationship with future husband and acclaimed writer Neil Gaiman, he had taken her to a trout farm to get some fresh fish for a dinner party. "Trout Heart Replica" was the result of Amanda seeing the trout being clubbed and gutted with their still beating hearts taken out. This song is art. It's riveting. It's a haunting piano piece accented with a sweeping strings section. It's urgent and desperate. It makes you relive every moment that you've ever hurt anyone or been damaged yourself. It's Amanda in her very best moment of brilliance.
While I would have happily bought the entire album just to listen to "THR," I was very pleased upon receiving the album to hear that Amanda had in fact generally managed to integrate the fuller band sound with her style quite successfully. "Want It Back" with its synthesizers, upbeat piano, and ridiculous hook has been running like a hamster in my head for days. It's a pop sugar rush. Other song standouts for me are the slightly White Stripes reminiscent "The Killing Type," "Olly Olly Oxen Free," and "Bottom Feeder." I really liked the addition of the band's (male) backing vocals as well as their musicianship--they definitely gave this record a sort of punch and distinctive flair that I really enjoyed. Also, the effort in creating visual art to go along with the music should be mentioned as well. Amanda reached out to her extensive network of artist friends (like Frances Bean Cobain and David Mack) and commissioned several pieces based off of various songs/herself. Several of these pieces are featured in the cd booklet so I would highly recommend actually getting the physical album in this case.
I realize this review is approaching short story length, but I just needed to share what this record meant to me and provide some type of background when I tell you that this is the album that I will remember 2012 for. Amanda writes music that tell's her experiences in such a way---that they justify your own. Her words merely become a vehicle for your experiences to live on. A catalyst for absolution, hope and celebration.
But Amanda... Amanda wrote about those first relationships, friends getting pregnant, girls masturbating--and all the angst and loneliness that's practically a teenage rite of passage. It was real. It resonated. And it was catchy as all get out. I followed Amanda's journey to become a successful solo musician after the Dolls went on hiatus---and again was almost overcome with the beauty, passion, and attention to almost mundane yet so poignant stories about life. The tremendously talented Ben Folds played a huge part in lifting Amanda's debut "Who Killed Amanda Palmer" into stratospheric levels for me. It crashed, wailed, whispered and wept. I was captivated.
I was so excited about what I was sure was going to be years of quality, creative music. Then Amanda ran afoul of her record label undergoing a long battle to be let of of her contract. In the meantime, she released a bunch of Radiohead ukulele covers, a circus cabaret inspired faux conjoined twin affair with Jason Webley, and a poor quality series of songs about Australia. I was not impressed. I never doubted Amanda's talent--it was just no longer my thing. I can't stand the ukulele and think Radiohead is overrated. Still, I had hope for the day when Amanda would return to the studio and put out another "real" album. Today is that day.
In the months leading up to September, Amanda and her team put together a massive Kickstarter campaign which eventually led to history being made and over a million dollars being raised to help fund the record/promotion/upcoming world tour (a monetary first for a musician on Kickstarter). As a Kickstarter backer, I've had access to several of the songs of the new album for weeks. I was excited about her finally having a full backing band instead of just a drummer--but was curious as to how a fuller sound would affect her very distinctive style of driving, stripped, relatively simple piano arrangements. I believe she first leaked the energetic yet ultimately flat "Do It With a Rockstar." Honestly, I think the melody just got on my nerves--but I was scared that Amanda had gotten lost in experimenting with a new band.
Then she released the epic seven minute long "Trout Heart Replica." While in the beginning stages of her relationship with future husband and acclaimed writer Neil Gaiman, he had taken her to a trout farm to get some fresh fish for a dinner party. "Trout Heart Replica" was the result of Amanda seeing the trout being clubbed and gutted with their still beating hearts taken out. This song is art. It's riveting. It's a haunting piano piece accented with a sweeping strings section. It's urgent and desperate. It makes you relive every moment that you've ever hurt anyone or been damaged yourself. It's Amanda in her very best moment of brilliance.
While I would have happily bought the entire album just to listen to "THR," I was very pleased upon receiving the album to hear that Amanda had in fact generally managed to integrate the fuller band sound with her style quite successfully. "Want It Back" with its synthesizers, upbeat piano, and ridiculous hook has been running like a hamster in my head for days. It's a pop sugar rush. Other song standouts for me are the slightly White Stripes reminiscent "The Killing Type," "Olly Olly Oxen Free," and "Bottom Feeder." I really liked the addition of the band's (male) backing vocals as well as their musicianship--they definitely gave this record a sort of punch and distinctive flair that I really enjoyed. Also, the effort in creating visual art to go along with the music should be mentioned as well. Amanda reached out to her extensive network of artist friends (like Frances Bean Cobain and David Mack) and commissioned several pieces based off of various songs/herself. Several of these pieces are featured in the cd booklet so I would highly recommend actually getting the physical album in this case.
I realize this review is approaching short story length, but I just needed to share what this record meant to me and provide some type of background when I tell you that this is the album that I will remember 2012 for. Amanda writes music that tell's her experiences in such a way---that they justify your own. Her words merely become a vehicle for your experiences to live on. A catalyst for absolution, hope and celebration.
Most Recent Customer Reviews
3.0 out of 5 stars
glad it came with digital version
Glad it came with a digital copy, the CD won't play on anything but a computer. Overall the music is good. like any cd, it's got ones i like and ones that I don't.
Published 15 days ago by NikkiM.
1.0 out of 5 stars
LOVE amanda ... HATE that my CD won't play!!!!
I don't know what the problem is but I have purchased and returned this particular cd TWICE! Both times it skips and won't play. I am so irritated. Maybe it's Karma... Read more
Published 1 month ago by snowbunny
5.0 out of 5 stars
Awesome
I think this is my favorite AFP project. I loooove this album! I have been listening to it on repeat for days.
Published 1 month ago by Amaris
5.0 out of 5 stars
....
This album is fantastic. AFP has been my idol for a while and I'm glad that I finally got the album!
Published 2 months ago by Katie
5.0 out of 5 stars
Okay....so Jian Gomeshi of "Q" introduced me to this band.....
.....and it was "The Bed Song" that intrigued me. I bought the MP3 single first and later on, ordered the CD that the song came from; 'Theatre Is Evil'. Read more
Published 2 months ago by J. Madden
5.0 out of 5 stars
AMAZING!
Is Amanda Palmer capable of making a bad album? The answer is no.
This album is amazing! I love the 80's vibe and as usual her lyrics are beautiful. Read more
This album is amazing! I love the 80's vibe and as usual her lyrics are beautiful. Read more
Published 2 months ago by BatmanLover999
4.0 out of 5 stars
It was a gift for a friend
Actually, this was a gift I bought for a friend who thinks Amanda Palmer is really badass. She was happy to receive it so I'm happy.
Published 3 months ago by JLSM
5.0 out of 5 stars
intricately hand-crafted
I had to listen through the album a couple times until I was certain that I loved it but after that I knew there was no turning back. Read more
Published 4 months ago by Penny Dreadful
5.0 out of 5 stars
I may not love every song
While I can't sit here and claim I love every song on this album, I still give it 5 Stars. The songs I listen to I can listen to all the time. Read more
Published 4 months ago by D. David DGuerra
4.0 out of 5 stars
Glad I bought it
Another album that I listen to over and over. I got my nephew into this album. She's the wife of my favorite writer Neil Gaiman, and I'm so glad I gave it a listen. Love it.
Published 4 months ago by Violet
