The Dresden Dolls – Yes, Virginia Review
Posted by Morgan Marx on 04.20.2006
Love is never falling over…
If you have read anything I've ever submitted to 411 (album reviews, concert write-ups, grocery lists) you've probably come across numerous mentions of The Dresden Dolls, my favorite local band turned good. Their self-titled debut album not only reinvigorated the Boston music scene, but it coined a new genre as well, Cabaret-Punk Rock. A delicious blend of DIY piano, furious drumming and histrionic vocals, The Dresden Dolls managed to be both mature and silly, something that both kids and adults could love. Singer/pianist Amanda Palmer crafts confessional style lyrics with that wonderful ability to make something personal universally poignant. Her song's dark, almost gothic overtones belied a winsome heart that immediately drew the listener closer to the artist. And drummer Brian Viglione is simply outstanding in everything he does (what, that's not objective?).
The Dolls have been on a roller-coaster ride of success since 2004 (opening for NIN, signing to a big label, being interviewed by me) that has culminated in the release of their sophomore album Yes, Virginia. I honestly believe that the duo's unique artistic vision and passion for their music will garner them a huge audience, and a long lasting one at that. But is Yes, Virginia the album that will shoot them to the top of the cultural troposphere? Let's get into it.
The album opens with "Sex Changes," a song that can serve as a Dresden Dolls primer of sorts. A solitary piano riff is suddenly augmented by Viglione's propulsive drumming, as Palmer begins to sing a sweet song involving castration. At points Palmer's voice cracks and squeals, before suddenly diving down several octaves into a husky growl. If you don't like dramatic singing, you won't like The Dresden Dolls, much in the same way you won't dig PJ Harvey. The song's "boys will be boys will be girls with no warning" breakdown is almost an update of Blur's "Girls and Boys" but in a time when sleeping with both genders isn't enough, we now actively want to be both genders. And like many Dolls songs, while the subject is somewhat sensational and over the top ("We'll need to chop your cock off tick tock tick tock"), a simple heartfelt line like "they always said that sex will change you…" reveals the emotional depths Palmer is able to explore.
"Backstabber" is a big "Fuck You" to the jealous music scene than many have complained about in Boston. Its central riff is reminiscent of "Closing Time" by Semisonic, and is immediately catchy. Palmer's voice sounds amazing, just crystal clear, due to the lush production of the album. And Viglione's backing vocals are a wonderful touch and reveal his multiple musical abilities. The Dolls have received some White Stripes comparisons (which is lazy reporting because they are a girl/guy duo), but Yes, Virginia is anything but striped down. Added instruments (guitar, bass, metronome), choral vocals and elaborate piano solos all find their way onto the album.
Both "My Alcoholic Friends" and "Me & The Minibar" offer up musings on life on the road, which almost every sophomore album addresses at one point or another. But Palmer manages to avoid cliché by making the experiences as specific as possible. While she doesn't know where she's waking up, or who is sleeping beside her in "Alcoholic," she pauses to appreciate the beauty of the ceiling above her. On "Minibar" she details a birthday celebration in which the only guests are the contents of the mini-fridge in her hotel room. Sometimes Palmer's lyrics can be a bit diary-esque, with lots of "woe is me" pity. But her ability to set a scene with insightful descriptions and characters sets her apart from all of the Emo boy whining that has populated the last 5 years or so.
The centerpiece of Yes, Virginia is easily "Delilah," a 7-minute lament about a friend in an abusive relationship. Palmer pulls out all the stops, both lyrically and vocally. "You thought you could change the world by opening your legs/Well it isn't very hard, try kicking them instead," coaches Palmer, in one of the least-feminist feminist statements I've heard. The haunting "oh ohs" that follow certain verses are beautiful, and fit the helpless sense of the song perfectly. I think Palmer's writing has grown from the first album in that "Delilah" manages to avoid being kitschy, or shticky, or anything like that. It's a true ballad that manages to be both emotionally wrenching and entertaining.
That's not to say Yes, Virginia is without fault. Some of the tracks definitely resemble one another, as there's only so much you can do with the piano. "Dirty Business" is as close to a throwaway track as I've heard the Dolls produce. This is not a perfect album by any means. Yet there's a lot of beauty on it. Palmer's affected, fuzzed out vocals and frantic piano on "Necessary Evil" will get you pogo-ing in your room. "Shores Of California" is a riot as Palmer reveals why "All around the nation/Girls are crying and the boys are masturbating." "Mandy Goes To Med School" is more reminiscent of The Dresden Dolls in that a jaunty, finger snapping piano riff supports Palmer's imaginations of life as a back alley abortionist. You just don't get that on most Pop albums these days.
I don't often mention other reviews in my writings. But a point was raised in (I believe) an Under The Radar review of Yes, Virginia. The writer pointed out that when band creates a completely new offshoot of Pop music (as the Dolls have done) it's silly to criticize them for sticking to the blueprint on their second album. Yes, Virginia is not a new Dresden Dolls. If you didn't like their debut album, you probably won't get won over here. While this isn't Dresden Dolls II, Palmer and Viglione stuck with what they do best on this important album. They have expanded their pop sensibilities, and explored more emotional themes. And I'm grateful for it. I can easily picture the video for the closing tack, "Sing," on MTV. And if a 10 year old girl, or a 15 year old boy is transfixed by the image of a woman with drawn on eyebrows and a man in a bowler hat, absolutely playing the fuck out of their instruments, then the world will be a better place. As Palmer herself puts it:
Life is no cabaret
We don't care what you say
We're inviting you anyway
You motherfuckers you'll sing someday…
The 411: A solid second offering from one of the most original bands out there today. While Yes, Virginia won’t revolutionize music in the year 2006 it augurs good things for The Dresden Dolls in the future. Give them a listen, visit their website (www.dresdendolls.com), see them in person. You can’t help but fall in love with this band.
