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Yes, Virginia - CLEAN
Released: Jun 6, 2006
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Yes, Virginia...
Released: Apr 18, 2006
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{$The Dresden Dolls} could never be accused of being shy and retiring, but on their second full-length, {^Yes, Virginia...}, they sound more confident than ever, igniting their {\cabaret}-{\rock}... Continue[+]

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{$The Dresden Dolls} could never be accused of being shy and retiring, but on their second full-length, {^Yes, Virginia...}, they sound more confident than ever, igniting their {\cabaret}-{\rock} with more crazed inventiveness and you-are-there immediacy. While there's nothing as instantly captivating as their first album's winsome {&"Coin-Operated Boy"} or the defiant {&"Girl Anachronism,"} {^Yes, Virginia...} is a more powerful and consistent set of songs overall, moving from musically and emotionally complex {\ballads} like {&"Delilah"} and the album closer, {&"Sing,"} to shouty, forceful numbers such as {&"Necessary Evil"} and {&"Sex Changes."} {$Sean Slade} and {$Paul Kolderie}'s production adds to the bigger, more {\rock}-inspired sound of the album, which invigorates {$Amanda Palmer}'s character sketches. While the highly theatrical, stylized sound of {$the Dresden Dolls} might seem to be the substance of their music -- and, admittedly, it does draw the listener in right away -- it's the strong songwriting that makes the band truly impressive. {$Palmer}'s lyrics have a mix of sympathy and disdain for the people and subjects in her songs that makes them seem very honest in spite, or perhaps because of, their theatricality. On {&"Backstabber,"} she dismisses a "greedy little fit-haver" with a "God, I feel for you, fool" that's a perfect blend of fury and pity. She goes after and celebrates uncomfortable moments, whether it's cataloging the drunken haze of {&"My Alcoholic Friends"} (which is one of the jauntiest, poppiest distillations of {$the Dolls}' sound to date) or {&"First Orgasm,"} a bleak and almost creepily intimate {\ballad} that's not at all jokey despite lines such as "I'm taking matters into my own hands" and "there won't be any second coming." Full of ambitious twists and turns, equally vulnerable and sarcastic, {^Yes, Virginia...} alludes to the famous 1897 {~New York Sun} editorial that reassured a little girl that {%Santa Claus} exists for a reason: as arch and ironic as {$the Dresden Dolls} might seem on the surface, inside their music, there's a surprising amount of hope and heart. ~ Heather Phares, All Music Guide

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Paradise
Released: Sep 27, 2005
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The Dresden Dolls - CLEAN
Released: Apr 26, 2005
Label: N\A

Inevitably, music will have leaders as well as followers, and both have their place. It's unrealistic and foolish to think that every artist who comes along should be a trendsetter; people who... Continue[+]

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Inevitably, music will have leaders as well as followers, and both have their place. It's unrealistic and foolish to think that every artist who comes along should be a trendsetter; people who shake things up as intensely as {$Charlie Parker}, {$the Sex Pistols}, {$John Coltrane}, {$the Beatles}, or {$Nirvana} are the exception instead of the rule. But when someone does come up with something that is truly fresh, he/she deserves applause -- and there is plenty of freshness on this self-titled CD by {$the Dresden Dolls}, a Boston-based duo that successfully blends {\alternative pop/rock} with German {\cabaret}. Lead singer {$Amanda Palmer} brings an unlikely combination of influences to this release, and they range from {$Kurt Weill} and {$Marlene Dietrich} to {\goth rock}, {\punk}, and the {\riot grrrl} movement. {$Palmer} has been greatly affected by the emotional catharsis of {$PJ Harvey}, {$Courtney Love}, and {$Tori Amos} -- her performances can take a very stream-of-consciousness approach -- but she has also been influenced by the {\cabaret} of Germany's pre-{$Adolf Hitler} Weimar Republic (although {$Palmer} writes and sings in English exclusively on this album). {$Hitler}, a fanatically extreme social conservative, detested the flamboyant, sexualized imagery of the Weimar-era {\cabaret} culture and did everything he could to eradicate it. But when {$Marlene Dietrich} and others fled Nazi Germany, they took their {\cabaret} with them -- and that Weimar-era influence is all over this intriguing CD. Not only has it affected {$Palmer}'s darkly theatrical melodies, but also, {$Palmer} and drummer {$Brian Viglione} ({$the Dresden Dolls}' other half) sport a look that is part {\goth} and part Weimar-era burlesque. And much to their credit, {$the Dresden Dolls} make their unorthodox {\alt-rock}/{\cabaret} blend sound perfectly natural rather than forced. This CD is enthusiastically recommended to anyone who is seeking something fresh from {\alternative pop/rock}. [This is the "clean" version of this release.] ~ Alex Henderson, All Music Guide

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The Dresden Dolls
Released: Apr 27, 2004
Label: N\A

Inevitably, music will have leaders as well as followers, and both have their place. It's unrealistic and foolish to think that every artist who comes along should be a trendsetter; people who... Continue[+]

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Inevitably, music will have leaders as well as followers, and both have their place. It's unrealistic and foolish to think that every artist who comes along should be a trendsetter; people who shake things up as intensely as {$Charlie Parker}, {$the Sex Pistols}, {$John Coltrane}, {$the Beatles}, or {$Nirvana} are the exception instead of the rule. But when someone does come up with something that is truly fresh, he/she deserves applause -- and there is plenty of freshness on this self-titled CD by {$the Dresden Dolls}, a Boston-based duo that successfully blends {\alternative pop/rock} with German {\cabaret}. Lead singer {$Amanda Palmer} brings an unlikely combination of influences to this release, and they range from {$Kurt Weill} and {$Marlene Dietrich} to {\goth rock}, {\punk}, and the {\riot grrrl} movement. {$Palmer} has been greatly affected by the emotional catharsis of {$PJ Harvey}, {$Courtney Love}, and {$Tori Amos} -- her performances can be very stream-of-consciousness -- but she has also been influenced by the {\cabaret} of Germany's pre-{%Adolf Hitler} Weimar Republic (although {$Palmer} writes and sings in English exclusively on this album). {%Hitler}, a fanatically extreme social conservative, detested the flamboyant, sexualized imagery of the Weimar-era {\cabaret} culture and did everything he could to eradicate it. But when {$Marlene Dietrich} and others fled Nazi Germany, they took their {\cabaret} with them -- and that Weimar-era influence is all over this intriguing CD. Not only has it affected {$Palmer}'s darkly theatrical melodies, but also, {$Palmer} and drummer {$Brian Viglione} ({$the Dresden Dolls}' other half) sport a look that is part {\goth} and part Weimar-era burlesque. And much to their credit, {$the Dresden Dolls} make their unorthodox {\alt-rock}/{\cabaret} blend sound perfectly natural rather than forced. This CD is enthusiastically recommended to anyone who is seeking something fresh from {\alternative pop/rock}. ~ Alex Henderson, All Music Guide

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The Dresden Dolls

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