The Dresden Dolls: No, Virginia

It is always a happy day when I receive a new release from The Dresden Dolls, who remain my favorite band of the modern era. These pioneers of my demented circus genre will release No, Virginia on May 20th. The disc is composed of five new originals, an old demo, a cover, a b-side from 2006's Yes, Virginia, and three other previously unreleased songs. The new album finds singer-pianist Amanda Palmer's fondness for pop and New Wave music crawling into and more blatantly influencing the band's signature "punk-cabaret" sound.



No, Virginia begins with the new song "Dear Jenny", which harks back to and surpasses the rhythmic contagion of "Sex Changes" and the "oh oh oh"s of "Mrs. O". The song heralds the arrival of the small town boredom tale "Night Reconnaissance", another communicable original. Both tracks show the maturity of Palmer's songwriting and orchestration, with her vocals and piano snaking elegantly through the arrangement rather than hijacking the songs completely.

The more somber "Mouse And The Model" is an old demo that reminds us of both the deep trenches and astronomical surges of Amanda Palmer's voice. The previously unreleased "Gardener" distinguishes itself by pairing sinisterly whispered verses with the mournful wail of the chorus over a haunting piano melody.

The hyperactive assault "Lonesome Organist Rapes Page Turner" flaunts the exhilarating alchemy between Palmer's piano and Brian Viglione's drums. A live performance of the song was featured in the Roundhouse DVD. The album's sole cover - Psychedelic Furs' "Pretty In Pink" - was originally recorded for the High School Reunion compilation. "The Sheep Song" is a menacing lullaby that finally alows Palmer to pound the life out of her piano.

I'm still waiting for "War Pigs", "Pierre" and "The Flesh Failures" to make a Dresden Dolls studio release, but this companion piece to Yes, Virginia is otherwise delectable.

The Dresden Dolls - Night Reconnaissance (mp3 expired)

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The Dresden Dolls: Roundhouse DVD

The DVD of The Dresden Dolls performance at London's Roundhouse theatre on November 3rd and 4th, 2006 features band members Amanda Palmer and Brian Viglione, their artistic fan Brigade, comedian Margaret Cho, Luminescent Orchestrii's Sxip Shirey, Jason Webley, Lene Lovich, Reggie Watts, and other singers, musicians, and performance artists. The Roundhouse production was a much larger and more theatrical event than the more intimate Paradise DVD.



The concert begins with an introduction by Margaret Cho, clad only in red burlesque feather fans. Then the Dresden Dolls take the stage to perform "Sex Changes". Amanda was surprisingly covered up in a large tshirt rather than her signature velvet mini dress, but that was the only variant in their presentation. An impressive curtain climbing acrobat and dancers put on a punk-goth Vaudevillian Cirque de Soleilesque show during "Gravity". Amanda and Brian ask the audience to sing along to "Modern Moonlight", then slide into "Mrs. O" to better showcase Amanda's limitless pipes. "Backstabber" is followed by "Coin-Operated Boy", the latter causing the crowd to erupt into cheers and applause.

The Dolls emerge from behind their respective instruments for a cover of Neutral Milk Hotel's "Two-Headed Boy", during which Brian plays acoustic guitar. They return to the piano and drum set for "Mandy Goes To Med School". Performance group Zen Zen Zo entertains the audience during "Slide", and a colourful selection from The Brigade sing backup on "The Jeep Song". The Dolls round out the main set with "Dirty Business", the catchy "Shores Of California", and Brian's acoustic guitar as well as The Brigade return for the so-called finale "Sing".

But of course there was more. The three song encore began with a mesmeric performance of "Mein Herr" that finally revealed the cabaret corset that had been hiding beneath Amanda's tshirt. Trash McSweeney of Australian band The Red Paintings and some actual painters joined the duo for "Mad World", which sounded more like a tribute to the Gary Jules cover rather than the Tears For Fears original. The true finale of the evening was my favourite Dolls tune (and second fave song ever) "Girl Anachronism".

The Roundhouse DVD also includes two bonus duets (trios?) - "Missed Me" with Edward Ka-Spel of Legendary Pink Dots and "Delilah" with the magnificent Lene Lovich. There are also interviews with the various performers and extra footage from the concert, during which we finally see clips of Sxip Shirey's noisy circus act and Margaret Cho's bizarre burlesque number with Jason Webley.

One might expect my adoration of the Dolls to fade now that they have gained some relative fame, but I felt just as giddily fangirlish watching the Roundhouse performance as I did when I first heard their music years ago.

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The Dresden Dolls: Patience Video

The Dresden Dolls recently covered GNR's "Patience" and were kind enough to upload the video to YouTube for our viewing pleasure.

The Dresden Dolls - Patience (live) (YouTube Video)

Amanda Palmer: Everybody Hurts Mp3

For some unfathomable reason, Stereogum opted to omit Amanda Palmer's cover of "Everybody Hurts" from their R.E.M. tribute. But they were nice enough to share the mp3 in their Gum Drop newsletter, so I can share it with you.

Amanda Palmer & Cormac Bride - Everybody Hurts (link expired)

Amanda Palmer, Jason Webley & Evelyn Evelyn: Elephant Elephant EP

Amanda Palmer of The Dresden Dolls and Jason Webley teamed up with the conjoined twin sisters Evelyn Evelyn to record Elephant Elephant.

The EP is a limited edition featuring two original songs - "Elephant Elephant" and "Have You Seen My Sister Evelyn" - and a cover of Joy Division's "Love Will Tear Us Apart". It also includes a disc of bonus tracks and out-takes.

Amanda describes the music as "something the Andrews Sisters might have recorded if they had grown up in the circus listening to new wave music."

You can buy the EP for $11 at Eleven Records.

Amanda Palmer, Jason Webley & Evelyn Evelyn - Elephant, Elephant (mp3)
Amanda Palmer, Jason Webley & Evelyn Evelyn - Have You Seen My Sister Evelyn (mp3)
Amanda Palmer, Jason Webley & Evelyn Evelyn - Love Will Tear Us Apart (mp3)

The Dresden Dolls: New Live Mp3s

The Dresden Dolls have updated their download page, which now includes some studio tracks from their debut album as well as a new selection of live tracks. The band recorded the following Leonard Cohen cover at The Orpheum in Boston in April, 2006.

The Dresden Dolls - Dance Me To The End Of Love (live) (mp3)

Jason Webley: Only Just Beginning

Singer-songwriter and multi-instrumentalist Jason Webley, like Elizabeth & The Catapult and Luminescent Orchestrii before him, came to my attention through his association with The Dresden Dolls. In addition to his vocals and songpen, Jason also plays guitar, piano, and accordion on his fourth album, Only Just Beginning.



"February Relaxing Her Fingers After a Brief Winter's Grip" layers an anticipatory beat with soft strings and occasional tinkle effects beneath Jason's deep, languid vocals.

It sounds like Holy Grail's coconut shells provide percussion on the jaunty carousel of "Music That Puts Everything Together". The deliberate pace, muffled piano, and deeply echoing vocals of "Balloon Feather Boat Tomato" create an atmospheric mood reminiscent of Blue Nile or DeVotchKa.

"Icarus" begins with a simpler acoustic sound before exploding into a chaotic mix of strings and growling vocals worthy of Tom Waits, or Luminescent Orchestrii. The growl remains on "Mine" over a deep bass thump. "Map" has creeping, plucky strings and ominous horns that recall the music of Tiger Lillies, only with much deeper vocals.

The darker tone of "With" hints at Leonard Cohen with throaty vocals and reluctant piano. The closing "Coda" builds into a crescendo of various instruments before sliding into sweet strings for the finale.

Jason Webley - Maps (mp3)

Jason Webley Official Site
Jason on MySpace

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Luminescent Orchestrii: Too Hot To Sleep

Attention! This is my new favourite band. Luminescent Orchestrii came to my attention in the same way that Elizabeth & The Catapult did, by playing with The Dresden Dolls. Apparently if Amanda Palmer likes a band, I will love them. The band's press release describes their music as "circus musicians, punk rockers, Appalachian fiddlers, audio tweakers, irreverent composers, Romanian gypsy melodies, punk frenzy, salty tangos, saucy lyrics, unexpected haunting harmony, hip-hop beats, music to make you dance and kiss and scream". They are all of this and more, their sound truly defying category. The vocals at times recall the Mediaeval Baebes cover from The Wicker Man, and there's a definite connection between their frenzied, violent approach to orchestral instruments and the punk cabaret of The Dresden Dolls, but neither description fully captures their unique and unearthly sound.



The Luminescent Orchestrii is composed of Sxip Shirey on resophonic guitar, bullhorn harmonicas, and melodica, Aaron Goldsmith on guitarrin, Rima Fand on violin and viola, Adam Matta supplying human beatbox, and Sarah Alden, Kaia Wong, and Julianna Carney on violin. Males and females alike lend their vocal talents to the mix.

"Amaritsi" begins with acapella female vocals before the strings kick up into a catchy, spicy, upbeat tune that I can't get out of my head. The screeching strings on "Stranger" remind me when the Devil plays his fiddle in Charlie Daniels' "Devil Went Down To Georgia".

The band's take on the traditional instrumentals "Freilach/Rabbi in Palestine" and "Cohen/Kolemeike" are exotic, spirited, and beautifully captivating. "Warsaw" could be an Appalachian folk tune if not for the seductive vocals and passionate music.

Songs like "Knockin" and "Too Hot To Sleep" sound like they could have been lifted from the Roma centuries ago, yet Sxip Shirey wrote them himself. The title track also has a hint of jazz mixed into its gypsy sound. "Tango du Réve" is the above referenced saucy tango.

There are so many genres in "Tea", I don't know where to begin. The track starts sounding like a Tom Waits song then switches to an ominously dark semi-bluegrass sound with female harmonies on the chorus before sliding into speak-sing blues and bursting into screaming strings that finally culminate in a chaotic explosion of sound. It's mind-blowingly awesome, what else can I say.

I don't believe I've ever heard a hip-hop fiddle tune until now. "She's A Brick" bends genres with a mix of human beatbox and singing strings. The pretty closing track, "Sweet", is the most peaceful that the album ever gets.

I haven't been this excited about a new musical discovery since author Caitlín R. Kiernan first introduced me to The Dresden Dolls. Luminescent Orchestrii's Too Hot To Sleep would unquestionably be my #1 album of 2007, except for the fact that it was released in 2005.

Luminescent_Orchestrii - Warsaw (mp3)
Luminescent_Orchestrii - Knockin (mp3)
Luminescent_Orchestrii - Stranger (mp3)

Luminescent Orchestrii's Official Site

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The Dresden Dolls: Yes, Virginia

As I mentioned in my post about the Paradise DVD, I finally received my copy of Yes, Virginia - the new album by The Dresden Dolls. Before I get to the album review and mp3s, I feel the need to vent a little.

I pre-ordered the cd from Amazon months ago, but I only received it last week. Amazon jacked up the price for pre-orders, so I initially refused to pay. But my local music retailer didn't have the album in stock, so I finally paid Amazon their ransom demand. Instead of downloading the album for free, I tried to support the band by buying their album during its first week. I ended up getting screwed for my effort, paying more than retail price and receiving my pre-order a month after it was released. The music industry certainly knows how to treat loyal, paying fans. Oh well, end of pity party.

I'm happy to say that Yes, Virginia was worth the wait. The new album retains enough of the raw sound and antiqued, German Cabaret style of the band's last album, yet it is plenty different enough to keep from being a carbon copy.

Some of the songs (such as "Necessary Evil") on the new album have almost a hint of Pop to them, especially when compared to older, pleasantly disjointed works like "Girl Anachronism". Or, at least, as close to Pop as a band like The Dresden Dolls can or should come - an intense, theatrical, Glam Rock/ Rock Opera kind of Punk-Pop. In other words, the good kind of Pop. Only not Pop at all. Confused? That's part of their charm.

I think what I'm enjoying most about the new album are Amanda's clever lyrics and her vocal style, particularly her enunciation and inflection. She times each word to fit perfectly with the rhythm of the song, stretching or halting every syllable as needed to match it with its corresponding musical note. It's something that seems to be unique to her, and enhances and emphasizes the lyrics of the individual songs. Most singers seem to just sing the lyrics over the music, without paying so much attention to the intricate details of how the words and melody mesh together.

As on The Dresden Dolls' two previous albums (one studio, one live EP), the lyrics on Yes, Virginia alternate between circus sideshow litanies, to venomous, unapologetic rants about ex-lovers and ex-friends, to biting satires of modern society - all peppered with Palmer's barbed wire wit.

My one and only complaint about the new album is that they didn't include their covers of Black Sabbath's "War Pigs" and Carole King's "Pierre" on it (both featured on the Paradise DVD), but I realize they probably want to keep to original songs for these early records, and possibly wouldn't be able to get the rights to the covers. But hopefully they will make a future album including those tracks.

I was already familiar with some of the songs on the album either through live mp3s ("Sex Changes", "Backstabber", "My Alcoholic Friends") or their inclusion on the live EP, A is for Accident ("Mrs. O"). I can't really say whether I prefer the album versions or the live ones. It's the same dilemma I had with their self-titled studio album, since many of those songs had also been recorded live for A is for Accident. The live mp3s have the raw power of a concert performance, yet the studio versions have a little extra oomph and polish to them. So it's good either way, and I'm very glad to have both sets of songs to enjoy.

The album version of "Backstabber", for example, almost sounds like a completely new song. The live version was slower, with deeper, more deliberate vocals and a tone that was more bitter than vindictive. I like the album arrangement a lot more. It's got more of a polished beat, and Amanda's vocals sound more flippant and insulting. A bit like the change in Fiona Apple's "Red, Red, Red" between the Extraordinary Machine demo and the studio release. Only in reverse, as if "Backstabber" evolved from introverted rage to more of an attack stance. Just those slight changes drastically improve what was a pretty good song to begin with.

Some of the new songs are very good as well. "Mandy Goes To Med School" is pure cabaret. And "Delilah" is as about as close to a ballad as The Dresden Dolls ever get. Though, like their other almost-ballad "Missed Me", the pretty music of "Delilah" is intertwined with dark, slightly disturbing lyrics.

"First Orgasm" and "Me & The Minibar" seem to be the only real weak points on the album, but that may just be an initial, fleeting impression. It took me a while to warm to some of the tunes on their last album, and now I love them all. So I'm sure the new album will sound better with each listen, too.

I only downloaded one mp3 from Yes, Virginia before I got the album. It was hard to resist the temptation, but I think waiting to hear the songs for the first time on the cd increased my excitement and enjoyment of the album.

Tracklisting:
1. Sex Changes
2. Backstabber
3. Modern Moonlight
4. My Alcoholic Friends
5. Delilah
6. Dirty Business
7. First Orgasm
8. Mrs. O
9. Shores Of California
10. Necessary Evil
11. Mandy Goes To Med School
12. Me & The Minibar
13. Sing

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The Dresden Dolls in Paradise DVD

Finally! I now have my own personal copies of The Dresden Dolls DVD, Paradise, and their new album, Yes, Virginia. I'm still absorbing the new album and tinkering with my review, so this post will just cover the DVD.

If you're completely unfamiliar with The Dresden Dolls and want to know their history and such, check out their page on Wikipedia or the plethora of links provided below.

I don't usually enjoy music and/or concert DVDs all that much. The only others that I actually own came free with special edition cds, and have been collecting dust since their initial viewings. So despite my somewhat obsessive love of The Dresden Dolls, I was surprised at how much I enjoyed Paradise. But enjoy it I did. Very much.

The DVD begins with a mini-documentary titled "A Day in the Life". It was shot Real World style, with handheld cameras following bandmates Amanda Palmer and Brian Viglione literally from the time they get out of bed until they take the stage that evening at the Paradise club in Boston.

The beginning of "A Day in the Life" is a bit lackluster as we follow Amanda and Brian through their morning routines. But as showtime nears, it becomes increasing more interesting as Amanda reveals small glimpses into her personality, warms up her singing voice, Brian discovers his drums are missing, we see a dramatic sock-puppet reenactment of the solution, and we're introduced to a few members of The Brigade.

Next up on the DVD is the pre-show, which includes some interpretive dance performances by members of The Brigade and an interview of the band by Christopher Lydon. Lydon was the host of The Connection on NPR and the subject of The Dresden Dolls song "Christopher Lydon". The interview includes some flirtation between Lydon and Amanda, and a q&a session with audience members, during which Amanda reveals that her biggest piano playing inspiration was Thelonious Monk.

Then the concert. Amanda and Brian, clad in their trademark mime makeup and garb, seem to attack their instruments more than actually play them. In a good way. My husband made the comment that he didn't know two people could make so much noise on their own. The Dresen Dolls at their best can make The White Stripes seem like easy listening, somehow transforming a solitary keyboard and drum set into a full punk orchestra. Especially impressive were their thunderously awesome cover of Black Sabbath's "War Pigs" and their charming duet of Carole King's "Pierre", which includes sadly rare vocals from Brian.

The setlist was as follows:

Good Day
Missed Me
War Pigs
Perfect Fit
Christopher Lydon
Bad Habit
Half Jack
Girl Anachronism
Pierre
Truce

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