Voltaire-Almost Human [HOT] Full Album Zip !FREE!
Lang Nunnally
This is clearly about the angel Lucifer retelling his experience of being cast out of God's grace. He is wallowing in contempt and anger, and he is worth nothing.But he doesn't know what he is- he has the same emotions humans have- contempt, anger, jealousy, but he isn't a human, nor is he an angel.He still doesn't realize what he's done wrong, saying, Is it really such a crime for an angel to speak his mind?great song
I first heard this album in 2002 through my girlfriend at the time. She had heard Voltaire from the Unquiet Grave III compilation and bought his first couple albums. Since I still considered myself religious at the time, I initially found his irreverent lyrics rather childish and insulting. So, when my girlfriend said she bought me one of his albums for my birthday, I was a bit angry (though she never did get the album to give to me). Prior to us breaking up, she had me make copies of Voltaire's first three albums, and they mostly remained unheard on my shelf. However, after I stopped brooding on the relationship I gave Voltaire another chance, and, now more irreligious myself, I found the music far more palatable. I still don't fully enjoy the discordant music and vocals, but I now see the wisdom in a lot of the lyrics.
On his debut, Voltaire satirized the concept of Evil and the many ways it manifests itself in the world. 2 years later, Voltaire returned with a more lighthearted look at life from the perspective of Gods angelic cast-off, Lucifer, driven by pride to attempt the first failed coup in history. Singing in a deep, velvety croon with all the passion, sorrow and bitterness of a fallen angel, Voltaire crafted an album full of haunting Old World melodies and memorable pop tunes that you wont be able to get out of your head without a guillotine. Spontaneously full of mirth and dark humor, Almost Human blurs the gap between the 18th and 21st centuries. This is pop music for a parallel universe, where Morrissey is the Queen of England and electricity was never discovered. Cleverly combining classical instruments with present-day song structures, Voltaires New Wave band from the Victorian Era cavort through a cabaret suitable for the most contemporary of dance floors.
"I got tired of there being other people releasing albums as Voltaire. There's an indie band in Germany and some American guy who makes instrumental hip-hop. Like, do these people not do a fuckin' Google search before naming their bands? Anyway, it was just easier to distinguish myself from them by using my first name."
The song carries a bittersweet and introspective tone, evoking emotions of longing, vulnerability, and self-reflection. It invites listeners to delve into their own emotions and contemplate the complexities of the human experience.
His most recent album, The Black Labyrinth, is a tribute to the forever wonderful film Labyrinth. Voltaire not only wrote beautiful melodies and heart breaking lyrics to add to a story we all loved, but also brought in amazingly talented artists to work on the project. Even Gail Ann Dorsey lent her talents to the album, and I am not embarrassed to say I fangirled when I saw this.
Welcome to the MUSIC ROOM! Here you will find all of Aurelio Voltaire's albums along with track lists and handy links to where you can buy them on-line and you can listen to the whole albums right here! Just scroll down to find each CD.
Dark cabaret artist Aurelio Voltaire leaves the vampires, zombies and murder ballads behind for a heart-wrenching collection of songs about love gained and love lost. His eleventh studio album (and first Projekt release in a decade) sees Voltaire crafting his most mature and passionate release to date.
A star-studded Gothrock album featuring members of My Chemical Romance, The Mission UK, The Birthday Massacre, Siouxsie and the Banshees, Rasputina, Peter Murphy's band, The Cruxshadows, Bella Morte, Ego Likeness and many more!
After 10 full-length studio albums and two decades of being called a "Gothic" musician, Aurelio Voltaire (formerly just "Voltaire") finally makes a Gothic album!
"In truth, it's a tour of all of the kinds of music I loved growing up. There are songs on this album that are Gothrock, Deathrock, New Wave, New Romantic, Darkwave and Dark folk. It's the album I've always wanted to make. Some of the songs were written as far back as 1984 when I was 17 years-old!" says, Aurelio Voltaire.
Voltaire is not alone on this epic journey. He is joined by some incredible talent on Raised by Bats including:
Brian Viglione on Drums
from The Dresden Dolls/The Violent Femmes
Ray Toro on Guitars
from My Chemical Romance
Knox Chandler on Guitars
from Siouxsie and the Banshees/Depeche Mode
Craig Adams on Bass
from The Mission UK/Sisters of Mercy/The Alarm/The Cult
Melora Creager on Cello
from Rasputina
Frank Morin on Guitars
from World Inferno Friendship Society
Emilio Zef China on Bass and violin
from Peter Murphy's band,
I, Synthesist on synthesizers and
Armen Ra on theremin.
With guest vocals by:
Julia Marcell
Chibi of the Birthday Massacre
Rogue of The Cruxshadows
Andy Deane of Bella Morte
Donna Lynch and Steven Archer of Ego Likeness
Zombina and the Skeletones,
Miss Ballistic and Zoog Von Rock of Angelspit!
Joining Aurelio Voltaire on this hysterical away mission are Garrett Wang, Tim Russ and Robert Picardo (Ensign Kim, Tuvok and the holographic doctor from Voyager respectively). Garrett Wang and Tim Russ sing back-up with hilarious results on the Voyager campfire song "Screw The Ocampa". Robert Picardo lends his talents to the bonus title track "BiTrektual" as well as plays Biggs Darklighter from the Star Wars saga on the wonderfully showtuny "Expendable", an epic battle between a Star Trek redshirt and Star Wars stormtrooper. Also on that track playing a Star Fleet officer are Tim Russ and Godhead lead singer, Jason Charles Miller as a stormtrooper. Jason Charles Miller also kicks off the album on the title track, "BiTrektual".
After 10 years of releasing CDs through Projekt Records, Voltaire embarks on his first self-released studio album. And what a journey it is! Somewhere between concept record and full-blown musical, To The Bottom of the Sea tells the tale of a gypsy tinker and his tumultuous journey from his homeland in the mountains of Vorutania, to a watery grave at the ocean depths.
Description: "It's a Halloween party in a jewel-box," Voltaire comments about Ooky Spooky, his most hilariously irreverent CD to date. Years in the making, Voltaire's 5th album contains a duet with The Dresden Dolls' Amanda Palmer, a track from a Cartoon Network movie plus his crowd-pleasing songs about zombies, devils and dancing skeletons. In fact necrophilia, cannibalism, prostitution, buggery, blasphemy, sacrilege, going to hell, bombing New Jersey and anal rape with a lightsaber are just a few of the charming topics covered on Ooky Spooky.
Back are the violins and cellos but new to the Voltaire sound is a horn section that brings to mind images of a mariachi skeleton band. But there is no doom and gloom here, mind you. The album bounces along with a mixture of klezmer, swing and ska that brings to mind such spooky-fun classics as Oingo Boingo's "Dead Man's Party" or "Hell" by the Squirrel Nut Zippers. Voltaire's love for Cab Calloway is evident in the song "Cannibal Buffet" (which seems straight from a Betty Boop cartoon) and more so in "Land of the Dead" which Voltaire wrote for the opening credit sequence of the Cartoon Network movie "Billy and Mandy's Big Boogie Adventure."
Known for his dark humor, Voltaire temporarily hangs up his horns on Then And Again, nine gorgeous songs of love lost where no one gets beheaded! This is the album that turns your parents into Voltaire fans! Serious, heartfelt and mature, Voltaire shows his versatility as an artist.
Description: Known for his satirical dark humor, Voltaire gives love the finger on Boo Hoo: a break up record for lonely hearts with an ax to grind! This isn't a CD you share with the one you love. This is the CD you send to your ex! Voltaire's third CD explores the soulfulness of modern music, yet does it within his trademark old world, acoustic gypsy sound. After spending the better part of the last 12 years in a somewhat idyllic relationship, Voltaire suddenly found himself with a one way ticket to Heartbreak Hotel. This led to an album's worth of material spanning the gamut of emotions of love lost -- from bitterness, remorse, sorrow and anger to irreverence, defiance, acceptance and consolation; mixed - of course - with heavy doses of the satirical dark humor Voltaire has become notorious for.
Singing in a deep, velvety croon with all the passion, sorrow and bitterness of a fallen angel, Voltaire has crafted an album full of haunting Old World melodies and memorable pop tunes that you won't be able to get out of your head without a guillotine. Always the devilish wordsmith, Voltaire's songs dance between the sardonic, the heartfelt and the absurd. Whether he is singing about a lost love or a public beheading, Voltaire effervesces in a playfully boisterous mix of wit and old-fashioned merriment.
But classifications are always dangerous. Good music is not necessarilyuseless, and useful music is not necessarily bad music. The eternalprincipal of suum cuique is the principle of individual humantaste which can be placed into approximate categories, but cannot bestandardized without the artificial interference of external factors.The same principle certainly applies to music as a weapon of healing,where selection should be determined by science but at the same timewe must strive to adapt the results of research of the individualpreferences of normal subjects.
In the realm of thought, opinions and theories sometimes find credencelong after they have been proved incorrect. In the field of the arts,opinions may become so strongly rooted that there is occasionalresistance to any analytical attempts designed to disprove them, andeven after they have been exposed, there will be a significant numberof people who will continue to believe in them. The artist who wouldmake music for patients must approach such an endeavor with a fullknowledge of the elements involved, and should be willing to recognizethose prejudices, customs and thoughts concerning the effects ofmusic on the human body which have been fostered by well-meaning, butmisguided, enthusiasts. We must differentiate between the philosophy ofesthetics and the proved psychology of music. Musicians who refuse toaccept those results of scientific research which disagree with theirpersonal views will fall into the same difficulties which have beset somany musicians in the past who have desired to help patients.
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