Emilie Autumn
Enchant

THE REVIEW

There are people who are born with art flowing through their veins, almost as if it were blood, and who, for better or worse, are destined to become great artists sooner or later. Then there are others who receive this gift only as a result of something unexpected in their lives, something significant and, in most cases, not exactly pleasant. Emilie Autumn was both of these things. Known to the public as a dark nymph with scarlet hair, few know that before the abortion and attempted suicide, followed by a period of confinement in a psychiatric institution, the dark Californian violinist was something completely different and ever so distant from the delirious character she is now.

The difference between the past and present of the eclectic musician is equally significant in terms of image and music: in "Enchant," Autumn's debut album, there is no trace of the hallucinatory and disturbing sound of "Opheliac," and the gloomy Victorian asylum atmospheres fade in favor of fairy-like auras that immerse the listener in Irish woods where nature is still unspoiled, almost mystical. In such a setting, Emilie moves like a most graceful fairy, and with an almost angelic voice guides us through the 14 tracks of the album on a musical journey where her favorite instrument, the violin, intertwines with a sophisticated electronic touch and Enya-like choirs, creating an intriguing pop-rock with Celtic nuances ("Across The Sky," "Rapunzel," "Remember," "Save You"). However, there are moments when the magical atmosphere gives way to lounge sounds skillfully recreated by the piano (the smoky "Second Hand Faith," "Heard It All," "If You Feel Better"); the piano is also the absolute protagonist of delicate ballads like the beautiful "What If" and "Ever," which greatly recall Elton John and Tori Amos's "Winter." There are also some more rocking moments ("Chambermaid") and successful nods to electro-pop ("Juliet," "Rose Red," "How Strange"), with the ever-present violin serving almost as a glue between all the songs, which, though they traverse different genres, always sound united by a well-implemented red thread.

"Enchant" is therefore a very diverse album that is completely different from what Emilie Autumn has accustomed us to listening to, a record that might surprise those who know her only for her "ophelian" delusions (if you'll allow the term) and that, being much more easy-listening compared to "Opheliac" and "Fight Like A Girl," might not appeal to everyone. However, for those who do not yet know the talented Californian violinist, it could be a good starting point to begin venturing into her musical realms by following her artistic journey from the beginning. Ultimately, it doesn't really matter, because in both cases it is undeniable that "Enchant" is an excellently crafted and interpreted record, representing a little gem to (re)discover for those seeking music that is not overly demanding, but well-made and pleasant and relaxing to the ears.