It is said that 'Les bals des victimes', or 'The victims’ balls', were soirees put on by dancing societies after the period known as the 'Reign of Terror' during the French Revolution. A period marked by intense violence and mass executions of those considered to be enemies of the Revolution. Following the death of Robespierre, one of the architects of the Terror, 'Les bals des victimes' emerged as a trend of youths whose relatives had been sent to the guillotine. Twisted by their experience, they established aristocratic, decadent balls open to themselves alone. These soirees were outlandish events, in which the participants wore lavish and 'à la mode' finery, as an act of mockery and defiance to the dominant regime. The costumes of those who attended these balls incorporated crepe armbands signifying mourning. Women dressed 'à la toilette du condamne', usually signified by a red ribbon tied around their necks at the point of a guillotine blade’s impact and hair cut, or worn, high up off the neck. Described as scandalous, 'Les bals des victimes' morbid fascination with the horror of the guillotine, often shocked the chattering classes.
As the first solo album from the twisted mind of Roberto Massaglia of 'The Tenth Stage', 'The Victim's Ball' comes as dramatically fitting approach to the theme of the French Revolution. A mix of early classical music, dark cabaret and "Phantom of the Opera" epic scores, 'The Victim's Ball' explores in theatrical and yet "tongue and cheek' tones, the dark and hidden side of human history. Through tales of despair, horror and rebellion, you will take heed a rare mix of instruments from church organs to hurdy gurdys, in conjunction with guest collaboration's from other sick minded artists. ENJOY!”
