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The Dresden Dolls Yes, Virginia
Roadrunner Records
After listening to “Yes, Virginia”, I find myself reaffirming what I already know - the ambiguous duo that form the fascinating and siren-esque Dresden Dolls blows my fragile music-loving mind. Not only are they amazingly talented writers and musicians, they’re some of the most extraordinary live performers I’ve ever encountered, and to top that off, their superlative, cabaret-inspired style is unparalleled. Full of passion, utterly raw, energetic, occasionally frenzied and maniacal, always endearing and enchanting, I immediately find myself wondering, are ‘normal’ people this passionate? Does the run-of-the-mill Joe yearn to scream at someone who underhandedly backstabbed them? Does the mainstream Mary feel unmitigated shame after waking up next to that unwelcome stranger from a drunken night before? Ok, maybe not, but the Dresden Dolls have never strived to be meek, meager, or in any way average for that matter.
Track listing:
01 Sex Changes
02 Backstabber
03 Modern Moonlight
04 My Alcoholic Friends
05 Delilah
06 Dirty Business
07 First Orgasm
08 Mrs. O
09 Shores Of California
10 Necessary Evil
11 Mandy Goes To Med School
12 Me & The Minibar
13 Sing
Although they’re a far cry from the mediocre, everyday questions and ponderings about sex, love, self-worth, fears, hopes, regrets, dreams, addictions, loneliness, relationships, turmoil, all of it; it’s eloquently versed in “Yes, Virginia” to be listened to, thought about, analyzed, and ultimately accepted for what it’s worth. They far exceed the status quo, and leave the beguiled listener languishing, doting, and thirsting for more. Having said that it’s no wonder they have acquired a loyal cult following of enamored admirers, enchanted listeners (myself included), and captivated critics.
The Dresden Dolls are composed of two devilishly clever and multi-talented members, Amanda Palmer and Brian Viglione. Palmer powerfully takes on lead vocals, piano, mellotron and organ, while Viglione fiercely performs on drums, percussion, back-up vocals, and occasional bass and guitar. They’re releasing their sophomore album on April 18th, 2006, signed and released with Roadrunner Records. Roadrunner Records is a primarily metal label with considerably hefty acts such as Slipknot, Killswitch Engage and a more subdued Nickelback.
It’s apparent the Dresden Dolls larger than life sound is a ticking time bomb ready to detonate. Exploding and blazing a fiery trail here and abroad, the Dolls are on the verge of hitting it big. That’s no surprise since the distinctively wicked twosome, originating from the underground Boston Massachusetts music scene, is full throttle when it comes to blustery energy, unique style, commanding sound, and nothing short of lyrically dazzling prose. The Dolls have brought cabaret style, over-the-top performances, and a one of a kind passion to the table and leave you wondering what could they possibly have up their frilly sleeve next?
The opening track on the album, “Sex Changes” starts the listener on a rollercoaster ride of sound that will leave you on the edge of your seat, screaming with giddy delight for more magic. The twinkling of the ivory soon breaks into full on pounding of the keys and lyrics that make you realize “today’s a very special day”.
“Backstabber” is one of my favorite tracks on the album with a barefaced melody and sincere structure that leave a passionate mark on the listener. It’s the kind of tune you want to be listening to when you find out your girlfriend cheated on you, or the neighbor ran over your dog. It’s pissed off, passionate, and thoroughly refreshing. Almost like a guilty pleasure to be hoarded and hidden.
“My Alcoholic Friends” is an intimate song that hits close to home for me on many levels. Just one of the numerous reasons to admire the highly melodic couple, is because they’re so easy for many to personally relate to. “I’m counting back, the number of the steps, it took for me to get, back on the wagon of the weekend” basically goes through my mind every Monday morning and each day after until the beloved Friday arrives. Brilliantly expressed “Should I choose a noble occupation, if I did I’d only show up late” is an apparent paradox for many today.
“Sing", a key track for the album, begins with a gently strummed guitar, a soft and graceful stroking of the piano, and Palmer quietly serenading a low-key and lovely ballad. The weeping, and lamented chorus has an overall simple, yet profound message, "just sing". It’s touching, moving, and one of those rare songs you actually feel better for having heard.
They’re abundant on opulent art, singular style, vivid talent, and so unique it’s obvious they’re destined to become solid-gold material. I've been lucky enough to see them live and it only added to my love and obsession for them. They deliver a performance that exceeds their greatness on recorded album. They leave me thinking one thing that they’ve already so eloquently vocalized, “Sing for the bartender, sing for the janitor, sing…”
