This October, Numan will make another attempt to perform in the states, this time not only to make up those dates canceled because of the ash cloud, but to also celebrate the 30th anniversary of his classic album The Pleasure Principle. On the aptly titled “Pleasure Principle 2010 Tour,” the legendary UK musician will perform the album in its entirety in 15 North American markets.

The trek will launch on October 17th in Orlando and will then take Numan up the east coast and into Canada. From there, he’ll travel west, stopping in Detroit, Chicago, and Denvero along the way. The tour will come to culmination with a series of west coast dates, highlighted by two Los Angeles dates to cap off the endeavor on November 3rd and 4th.

In addition to performing The Pleasure Principle, Numan will also use the dates to perform material spanning across his career, including tracks from his forthcoming album Splinter which he’s currently working on in the U.K.

Plus, all this comes just months after Numan reissued The Pleasure Principle as a two-disc set via the Beggars Archive. If you’re interested in picking up a copy ahead of the tour, we suggest you click here.

Tickets will be available starting Thursday, July 1st via Ticketmaster.com.

Gary Numan 2010 Tour Dates:
10/17 – Orlando, FL @ The Firestone
10/18 – Atlanta, GA @ Masquerade
10/20 – Washington, DC @ Black Cat
10/21 – Philadelphia, PA @ Trocadero #
10/22 – Boston, MA @ Paradise
10/23 – New York, NY @ Nokia Theatre #
10/24 – Toronto, ON @ Opera House
10/25 – Detroit, MI @ Majestic Theater
10/26 – Chicago, IL @ Metro
10/28 – Denver, CO @ Gothic Theatre
10/31 – Seattle, WA @ Neumos
11/01 – Portland, OR @ Roseland Theatre
11/02 – San Francisco, CA @ The Fillmore
11/03 – Los Angeles, CA @ El Rey Theatre
11/04 – Los Angeles, CA @ El Rey Theatre

# = w/ Emilie Autumn

Emilie Autumn is an American singer-songwriter known for a couple of unusual things besides her music. First off, she eschews the typical rock devices of guitar and piano for an electric violin and a harpsichord. Secondly, she appears to be legitimately psychotic. Alright, maybe legitimately isn’t the right word. But if Autumn’s stage presence is just an act, it’s pretty damn effective.

Always dressed in Victorian era clothes, Autumn’s songs focus on whatever riles her up within her own mind. More often than not, this subject is revenge against a lover who’s wronged her. It’s in this context that Autumn unleashed one of the scariest numbers. “Liar” from 2006′s Opheliac.

“Liar” starts off with the death wail of a heavily distorted electric violin. Soon after, the thumping mechanical beat comes in complete with the sounds of an industrial factory. When Autumn starts singing, it’s easy to tell that every word she says is dripping with venomous intent. The chorus consists of the same beat as Autumn repeats the word “Liar” in a deadened manner. A harpsichord adds another subtle layer that connects the song to the Victorian era while the mechanical beat and screams of the electric violin ground it in the present.

When the bridge kicks in, Autumn asks “Are you suffering?” While the line taken out of context may sound overdramatic, she makes it clear that she’s not messing around. Her vocals get louder and louder before she switches from asking to demanding that her subject suffers. This is where the song takes a turn for scary territory. Autumn moves from a spoken shout to a death growl about how she wants “to see your pain!” While her voice is usually angry, it doesn’t get to the point of frightening until she screams with a fury that sounds real. When she screams, it’s not an act anymore. She really wants her subject’s suffering and sounds willingly to turn him into her victim if she has to in order to succeed.

The song’s effect is further enhanced the Autumn’s lyrics. When she says, “I want to mix our blood/And put it in the ground/So you can never leave,” it’s difficult not to wonder if she’s actually done something like that before.

Over the course of the song, Autumn continues to build a haunting environment that seethes just underneath the surface before bursting out at intervals. These revelations of rage are some of the frightening moments in the song and on her whole album. Even though the music sounds somewhat Victorian, “Liar” could ramp up the fear in a modern haunted house any day.

As a violinist and singer, standing on stage in full cabaret make-up, Autumn has a taste for the macabre (though ironically she’s a devout vegetarian).  After a small string of EPs, she just recently released her fourth studio album titled 4 o’Clock which features the track from Saw III, “Organ Grinder”.

Also of note is her more bard-like approach to covers, with a rendition of Queen’s most wanted single, “Bohemian Rhapsody” (cue the head bangers).  Shrill violin harmonizes well with Autumn’s semi-operatic vocal range, and while not as grandiose as the original we thank her for the contribution.

Dubbed a “goth opera industrial” musician, she twists and turns through catacombs of synth, violin, drum beats, piercing voices and the ever-popular stage shows that have made her current residence of Chi-town much less shy. If you need more proof of her particularly dark tastes, her inspirations include noted violinist Nigel Kennedy, and her backing band is known as The Bloody Crumpets (at least it doesn’t reference Tampons).

4 o’Clock was placed on shelves in January of this year, and thanks to my new friend, Nicole Woods, I was recently introduced to her music via our favorite social networking site MySpace.  If you feel the need to hear for yourself, check that out and I highly recommend tracks such as “The Art of Suicide” and “Misery Loves Company”, not to mention that very unique and somewhat haunting Queen cover.

It is somewhat disappointing that a woman of such exquisite beauty (her band mate Ulorin Vex designs her outfits), originality and epic nature were not frequently noticed outside of our morbid teenage population – hence our Listen article.  It is also sad that most of her tour dates frequent other countries, but perhaps more recognition on our side of the pond will remedy that.

Oh, and it’s suggested that you stare at her photo for a while – maybe you’ll see the ghost of gothic music.

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