Not only did Dresden Dolls carve themselves a new niche of gothic-baroque-pop with the release of their scandalously brilliant Yes, Virginia, but they now follow it up with a collection of out-takes and B-sides that are strong enough to be an album in themselves.
Whether it’s the cabaret piano lines, the rolling drums or the totally mesmerising vocals of frontwoman Amanda Palmer, No, Virginia equals its predecessor and is completely faultless. To think that such rich and multi-layered music could emerge from only two musicians is a feat in and of itself. Bit it’s the quality of the songs, their lyrical and emotional resonance that makes this record vital for any fan of the avant-garde. Palmer has never been one to mince words – she gladly attacks topical issues of sexuality, suicide and drug abuse, often in the same breath.
The Dresden Dolls are just the kind of dark horse that the industry needs – they provide a glorious score to desperation and despair with lashings of poise and wit. And the actual music is still the most original thing you’ll hear coming out of the States at the moment. These guys aren’t indie, they aren’t alternative, and they definitely aren’t mainstream. Quite simply, they’re in a league of their own and are utterly outstanding. This is one collection you’ll never get bored of. I guarantee it.
