"Programmed drums and distorted keyboards wed to piercing soprano vocals with gothic atmospherics, Mutilated Mannequins undulate as though they're actually being tortured - and enjoying it."
-BW & BK

Mutilated Mannequins "Lordship and Bondage"- This is the debut from SF's most unnerving band. Imagine a heavier, more electronic version of the birthday party fronted by King Diamond and Gollum combined and you still don't know what this record sounds like!!! Eerie stuff with great lyrics.
Aesop's Reviews

Lordship And Bondage is filled with images of the most garish of theatrics, tattered velvet drapes and torn gowns stained with red wine and smeared rouge. Like an errant banshee, Mannequin Lamar'sïaffected, operatic vocals hold unstable court over the erratic gothmetal assembly. One dozen mean and dirty cabaret indulgences primarily driven by an industrial rock stomp. Imagine if Klaus Nomi were an overwrought goth fronting Marilyn Manson's band. You may find yourself asking "Are these guys from Florida or SF's Mission District?"

It seems that something is keeping me from enjoying the 'Mannequins intended pursuits, however. Hindered by an overt self-awareness? A forced eccentricity? Not unlike spotting an immaculately coiffed and perfumed dandy in a full tailored suit strolling proudly down the street, but as your eyes drink in this vision they fall to his feet and are disappointed to find the most scuffed, unkempt boots - promising, but the image is marred. Cover art features the same Man Ray photograph that John Zorn chose for his 1993 album, Radio.
Aquarius Records

The following two new reviews are from France, in French, and an English translation will follow shortly:

funeralcry.free.fr

Prelude for the mutilated in G minor : Thus starts Lordship and bondage, first opus of Mutilated Mannequins, a conceptual and surrealist band led by the soprano voice of (male) Mannequin Lamar. Yes, a man with a soprano voice. Even if that can be somewhat shocking the first few times one hears it, the original character, the richness of its influences and the great quality of the compositions allows one to fully appreciate this first masterful attempt. This band, whose influences seem to be somewhere between Christian Death and Iron Maiden, is one of this year?s nice surprises. The production is, just like the music, the work of the trio; which guarantees a sound in accordance with Mutilated Mannequins? style. As for the songs, Lordship and Bondage contains a number of potential hits, such as Lordship and Bondage, What Have I Become or Queen of Spades. An album to recommend to the most open-minded fans of batcave, or to those tired of the countless Rozz Williams clones.

Prelude for the mutilated in G minor : Voilà comment commence Lordship and bondage, premier opus de Mutilated Mannequins, groupe conceptuel et surréaliste, emmené par la voix soprano du Mannequin Lamar. Oui, un homme à la voix soprano. Même si cela peut plus ou moins choquer lors des premières écoutes, le caractère original, la richesse des influences et la grande qualité des compositions permet d'apprécier pleinement ce premier coup en maître. Ce groupe, dont les influences semblent être quelque part entre Christian Death et Iron Maiden, est une des bonnes surprises de cette année 2003. La production est, à l'instar de la musique, maîtrisée par le trio ; ce qui garantit un son propre au style Mutilated Mannequins. Quant aux chansons, Lordship and Bondage contient un bon nombre de tubes potentiels, tels que Lordship and bondage, What have I become ou Queen of spades. Bref, un album à conseiller aux fans de batcave les plus ouverts, ou à ceux lassés par les innombrables clones de Rozz Williams.

Mutilated Mannequins Lordship & Bondage.:: 2003 :: Shrieking Death Records ::. obskure.com/fr

It all starts by a piano introduction, somber and baroque, which fills us with a feeling of fear, first and foremost for all that shall follow, that is, the most formal unknown. When the first notes of? What Have I Become? ring, one feels prepared, but when Mannequin Lamar?s utterly peculiar voice makes itself heard, one knows one will not escape unscathed?far from it. One even comes to wonder whether that voice comes from ?human? vocal chords? To put things in perspective, it must be said that what makes Mutilated Mannequins? originality, much more so than its music, is its leader utterly peculiar voice, which evolves in supremely high spheres. When I say high, I mean it litterally, that is, the singer wishes to express himself in a high register, where trebles are king; to be clear about it, Mannequin Lamar sings like?a soprano. There, I?ve said it. That voice doesn?t stop tormenting us throughout the whole album, and even beyond, since once you?re used to it (I reckon a certain adaptation time is required), you won?t let go of the album. On a musical level, nothing really familiar, since the songs, built on the harshest deathrock foundations, also have a metal side (which increases by tenfold the madness of ?Lordship and Bondage?) or even an electronic one, notably through the rhythm box [drum machine? Beat box?] and certain synthesizer sounds. This album, therefore, turns out to be a must-have, since it offers a plethora of death-rock gems, but also and especially due to its originality, which will initially throw off more than one listener, but which will turn out to satisfy everyone. Probably the most innovative album of the year.

Tout commence sur une introduction au piano, sombre et baroque, nous envahissant d’un sentiment de crainte, avant tout de ce qui va suivre, c'est-à-dire l’inconnu le plus formel. Quand retentissent les premières notes de « What I Have Become », on se sent préparé, mais lorsque la voix si particulière de Mannequin Lamar se fait entendre, on sait que l’on en sortira pas indemne…loin de la. On en vient même à se demander si cette voix provient de cordes vocales « humaines »… Pour remettre les choses en place, il faut savoir que ce qui fait l’originalité de Mutilated Mannequins, bien plus que sa musique, est la voix si particulière de son leader, évoluant dans des sphères d’une suprême hauteur. Quand je parle de hauteur, c’est à prendre au pied de la lettre, c'est-à-dire que le chanteur a souhaité s’exprimer dans un registre haut placé, où les aigus sont maîtres ; pour être clair, Mannequin Lamar chante comme…une soprano. Le mot est lâché. Cette voix ne cesse de nous tourmenter durant tout l’album, et même au-delà, car une fois habitué (je reconnais qu’un certain temps d’adaptation est nécessaire) vous ne lâcherez plus le disque. Au niveau musical, rien de vraiment connu, puisque les chansons, construites sur une base death-rock des plus abruptes, sont mêlées à un côté métal (la folie de « Lordship & Bondage » en ressort décuplée), voire même électronique, notamment de par la boîte à rythme et certains sons de synthétiseurs. Cet album s’avère donc indispensable, car proposant une pléthore de bijoux death-rock, mais aussi et surtout de par son originalité, qui en déconcertera d’abord plus d’un, mais qui finira ainsi par réjouir tout le monde. Probablement le disque le plus novateur de l’année.

SF Weekly - Pop Philosophy

Playing to the Egyptian god of half-naked violinists. There are certain artists to whom you can't be indifferent. Either you love them or you hate them, but there's no in between. These acts make you feel so strongly that when you see them live you either kiss your neighbor or reach for earplugs and a barf bag. Personally, I have nightmares about being trapped in a tiny club with local heavy metal goth group Mutilated Mannequins. Or worse yet, Thoth.

Interview with Mutilated Mannequins in Club K.Y.'s:  'The Y-Files'