Their earlier albums have provided a great deal of influence to the gothic metal genre. The band was one of the first ones who made use of contrasting vocals - male bass vocals and death growls and female soprano singing.
On their first three albums (Theatre of Tragedy, Velvet Darkness They Fear, Aégis) Theatre of Tragedy presented lyrics written predominantly in Early Modern English, a precedent to modern English used in and around Shakespearean times.
Starting from the album Musique, however, the band made drastic changes to their style, which became significantly inspired by electro-rock and electro-pop, abandoning Early Modern English lyrics writing, heavier guitar riffing and death growls in the process. This style change was consequently continued on the following album, Assembly.
After a long break and after changing the female vocalist due to musical differences, and furthermore their management and the record label, Theatre of Tragedy released their new album Storm, the first one with their new singer, Nell Sigland (from The Crest).
On this album, the electronic influences are reduced again in favour of simplicity and naturalism. According to Hein Frode Hansen, Storm is to be seen as the missing link between Aégis and Musique.
The new album Forever is the World, reverts back to the gothic metal roots, but keeps the atmospheric metal styling of Storm. The band said the album was very much written by Nell as well as other band members, moreover it was partially written before Storm was. It is seen to be more organic than their last 3 albums and has been both praised and criticised by fans, though most publications seem to praise it from being different to the symphonic metal that is very much popularised in today's music industry.
The band split on October 2nd, 2010, exactly 17 years after forming. The final curtain show was played in Stavanger, Norway and was recorded live for a later DVD release.
Final lineup:
* Raymond István Rohonyi - Vocals & Programming
* Nell Sigland - Vocals - (The Crest)
* Frank Claussen - Guitars
* Vegard K. Thorsen - Guitars
* Lorentz Aspen - Keyboards
* Hein Frode Hansen - Drums - (ex-Phobia)
Former members:
* Liv Kristine Espenæs Krull - Vocals - (Leaves' Eyes, Liv Kristine, Atrocity (guest), Cradle of Filth (guest))
* Tommy Lindal - Guitars
* Tommy Olsson - Guitars
* Pål Bjåstad - Guitars
* Geir Flikkeid - Guitars
* Eirik T. Saltrø - Bass
Albums:
1995 - Theatre of Tragedy
1996 - Velvet Darkness They Fear
1998 - Aégis
2000 - Musique
2001 - Closure: Live
2002 - Assembly
2003 - Two Originals (Compilation)
2006 - Storm
2009 - Forever is the World
Singles and EPs:
1994 - Theatre of Tragedy Demo (Demo)
1996 - Der Tanz Der Schatten (Single)
1997 - A Rose for the Dead (EP)
1998 - Cassandra (Single)
2000 - Image (Single)
2001 - Machine (Single)
2001 - Inperspective (EP)
2002 - Let You Down (Single)
2002 - Envision (Single)
2006 - Storm (Single)
2010 - Addenda (EP)
Official site: www.theatreoftragedy.com
Automatic Lover
Theatre of Tragedy Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
He is just being nice with his kisses and he
Thinks you're not one of the smart ones
Say it, sexy
Doesn't seem like you want that kind of honey, honey
From the automatic lover's store
To the first floor of your backroom door
In a freak-freak dance of the showroom girl
From the plead-plead when you really want in
To the knead-knead 'fore the blanket-spin
From the flush-flush of the bed-time art
To the raging heart when she doesn't do her part
Do you like it yeah?
Don't you want to end up with this mister?
He is just being nice with his kisses and he
Thinks you're not one of the smart ones
Say it sexy
Doesn't seem like you want that kind of honey, honey
Out the door-door to the dance-dance hall
To the bawl-bawl of the bar room brawl
From the drink-drink until on the floor
To the blink-blink of the girl next door
To the rock-rock until off the hinge
To the luck-luck to complete the binge
From the rush-rush when you're feeling bored
To the second floor of your homeroom door
To the plead-plead when you really want in
And the knead-knead 'fore the blanket-spin
From the fug-fug of the bedroom air
To the hug-hug of the professional lair
To the automatic lover's store
Where it feel-feels much less like a chore
To the lick-lick of the lipstick lip
To the electric strip of the perfect trip
Don't you want to end up with this mister?
He is just being nice with his kisses and he
Thinks you're not one of the smart ones
Say it sexy
Doesn't seem like you want that kind of honey, honey
Hey you are you oh-oh are you
I owe you a go-go are you
Nothing but an oh-oh yeah
I owe you a kissy baby
Hey you are you oh-oh are you
I owe you a go-go are you
Nothing but an oh-oh yeah
I owe you a kissy baby.
The lyrics to Theatre of Tragedy's song "Automatic Lover" seem to portray a less-than-ideal scenario for a woman, involving a pushy man who is only interested in physical pleasure. The chorus repeats the question of whether the woman wants to be with this man, who is "just being nice with his kisses" and doesn't seem to have any regard for her intelligence or desires. The verses describe various sexual encounters, from the automatic lover's store to a homeroom door, but the tone feels more like a warning than an invitation.
Despite the upbeat music and playful lyrics, the song seems to be commenting on the objectification of women and the danger of pursuing pleasure at any cost. The repetition of phrases like "doesn't seem like you want that kind of honey, honey" and "plead-plead when you really want in" suggest that the woman may not be fully consenting to these experiences, but is being pressured into them. The use of onomatopoeia in the chorus, with words like "spin-spin" and "flush-flush," creates an almost mechanical feel to the encounters, emphasizing the lack of intimacy and connection.
Overall, "Automatic Lover" is a song that seems to be commenting on societal pressures and the dangers of objectification, while still being catchy and danceable.
Line by Line Meaning
Don't you want to end up with this mister?
Are you interested in being with this man?
He is just being nice with his kisses and he
He's using kisses as a tool to make you like him.
Thinks you're not one of the smart ones
He believes that you're not intelligent enough to see through his facade.
Say it sexy
Respond in a seductive manner, show him you're interested.
Doesn't seem like you want that kind of honey, honey
It appears that this kind of man and relationship isn't what you desire.
From the automatic lover's store
Starting from a place where love can be bought and sold like an object.
To the first floor of your backroom door
Going to a hidden and private space.
From the spin-spin of the fickle swirl
From the hypnotic movement of a changeable (person or situation).
In a freak-freak dance of the showroom girl
A strange and weird dance with a woman who is putting on an act.
From the plead-plead when you really want in
Asking someone to let you in and grant you access.
To the knead-knead 'fore the blanket-spin
Getting warm and comfortable before getting intimate.
From the flush-flush of the bed-time art
The excitement and thrill of sex before going to sleep.
To the raging heart when she doesn't do her part
Feeling angry and frustrated when one partner isn't fulfilling their role in the sexual experience.
Do you like it yeah?
Is this what you enjoy and desire?
Out the door-door to the dance-dance hall
Leaving the scene to go dance at a club.
To the bawl-bawl of the bar room brawl
To the sound of shouting and fighting at a bar.
From the drink-drink until on the floor
Drinking until one is heavily intoxicated and falls on the ground.
To the blink-blink of the girl next door
Discreetly having sex with the neighbor.
To the rock-rock until off the hinge
Partying until you lose control and become reckless.
To the luck-luck to complete the binge
Relying on luck to complete a session of heavy drinking or drug use.
From the rush-rush when you're feeling bored
Doing something to fill the void of boredom and monotony.
To the second floor of your homeroom door
Going to a more personal space, such as a bedroom in your own home.
To the plead-plead when you really want in
Asking again to gain permission to enter and become intimate.
And the knead-knead 'fore the blanket-spin
Becoming comfortable and initiating intimacy before sleeping together.
From the fug-fug of the bedroom air
The stale and heavy air inside the bedroom.
To the hug-hug of the professional lair
The embrace and touch of someone who is experienced and trained in their profession.
To the automatic lover's store
Returning to a place where feelings and relationships can be bought like a product.
Where it feel-feels much less like a chore
A place where cheap and easy love doesn't seem like a tedious task.
To the lick-lick of the lipstick lip
The sensual and teasing touch of someone's lipstick on their lips.
To the electric strip of the perfect trip
The exciting and stimulating high of a perfect experience.
Hey you are you oh-oh are you
Hey, who are you?
I owe you a go-go are you
I owe you a dance, would you like one?
Nothing but an oh-oh yeah
Nothing but a meaningless, fleeting connection.
I owe you a kissy baby
I owe you a kiss, baby.
Lyrics © O/B/O APRA AMCOS
Lyrics Licensed & Provided by LyricFind