The Dresden Dolls: For this dynamic duo, life is a cabaret
No, Virginia, Roadrunner Records
Release date: 20 May 2008
By Joe DeRosa
“Long live Punk Cabaret!” Such is the mantra of The Dresden Dolls, a Boston-based duo who burst onto the music scene in 2003 with their self-titled release. They’ve spent the past five years carving out their niche in the ever changing soundscape of the music industry. With influences ranging from The Beatles, the Stray Cats and The Cure, to Bon Jovi, Elvin Jones and John Coltrane, the talented Amanda Palmer and Brian Viglione have created a style of music that is very much their own.
Their new album, No, Virginia, picks up–quite literally–where 2006’s Yes, Virginia left off. It’s a collection of unused material from the Yes, Virginia sessions, interspersed with tracks that were recorded earlier this year. Given this knowledge, I approached No, Virginia with some trepidation; I don’t usually appreciate it when an artist tries to pass off as a new album works that weren’t good enough to make the cut the first time around. But No, Virginia works–and it works great.
Expanding on their punk-meets-singer-songwriter, goth cabaret repertoire, No, Virginia has tracks that span from the quiet storm of “The Kill” to the piano-driven, punk-rock flurry of “Lonesome Organist Rapes Page-turner.” They throw in a cover of the Psychedelic Furs’ “Pretty in Pink” for good measure. Though Viglione’s role in the Dresden Dolls is integral (he plays drums and bass and performs background vocals), it is Palmer’s songwriting, piano playing and unique vocal styling that truly shines and defines the Dolls’ music. Her semi-spoken alto vocals may not rank among the best in the world, at least not by technical standards, but they do offer the perfect complement to her dark, cabaret songs. Such a balance is mesmerizing on upbeat tracks such as “Night Reconnaissance” and “Sorry Bunch”–two of my faves from the album. Palmer’s vocals become simply another finely tuned instrument on the haunting track “The Gardener.” Considering how well the Dolls’ music would have blended in the early ’80s alongside bands like The Cure, The Smiths and Depeche Mode, it’s even more impressive in 2008 because of how much it stands out in today’s musical climate, where bands who once wanted to flaunt their true punk-rock credentials just a years ago, now want nothing more than pop-idol notoriety.
The Dresden Dolls continue unwaveringly to produce the style of music that they want to produce, even if that means signing to Roadrunner Records, a company best known for its aggressive metal acts. The Dolls’ music is powerful, original and thoroughly enjoyable. But the more you immerse yourself into their world, you’ll find there’s more to them than the music alone. Their live shows are spectacular events, and their band’s Web site is one of the best I’ve ever seen (www.dresdendolls.com). The site invites us the fans to become a part of the world they’re creating, even allowing fans to create the album artwork for Yes, Virginia. Surely, No, Virginia will continue to promote such a fervor, luring us in with its piano-driven melodies and unflinching lyrical content. It’s very refreshing to hear a band so genuine and uncompromising in their approach to making great music. So I say, long live The Dresden Dolls!