Remote Control
Songs You Should Be Listening To
Last Songs Played
Posts
When I think of a proper B-sides collection, I’m thinking bizarre shit. Shit that doesn’t fit on a “real” album. Shit that doesn’t even sound like the band that played it. Shit we don’t even get to hear anymore, not since “the single” became a term we use literally.
Where does all the weird shit go? Bands must still write them. I can’t remember the last time one of my favorite bands released a B-sides collection. Maybe Nirvana’s Incesticide? That was some weird shit. Sloppy, disjointed, and loud. I loved it, and it really cemented what a proper B-sides album was in my head.
No, Virginia by The Dresden Dolls is not a proper B-sides album. The title itself, an offshoot of their 2006 album Yes, Virginia, suggests B-sideness. All the press leading up to the album’s release called it a B-sides collection. But if you were to listen to this album without knowing its history in advance, you’d think you were listening to Dresden Dolls studio album #3. It’s got great production values, seamless sequencing, and polish all the way through.
I’d say that’s both a good and bad thing. One of the things I love most about The Dresden Dolls’ first album was how sloppy and out-of-control it sounded. In fact, their first album sounded more like a proper B-sides collection. I’d wager that it actually takes more control to sound like you have none at all and still do it well, and that approach was perfect for the Dolls’ sound.
Don’t get me wrong. I never want a band to release the same album over and over. But when a band does change, I’d prefer they turn the creative control dial up, not down. A number of the tracks (see first single Night Reconaissance; video at the end of the review) bear a heavy Ben Folds influence—and I like Ben Folds—but it means that out-of-control punk influence is dying off over time.
Two tracks really caught my attention toward the center of the album. The first was The Gardener, a slow, minimalist track that builds from a simple repeated drumbeat and bassline to an echoing crescendo as Amanda Palmer chants, “The Gardener’s coming to collect.” The second was the bizarrely titled Lonesome Organist Rapes Page-Turner, which captures perfectly the chaotic tone that I miss so much about the first album. Palmer’s voice cracks, shrieks, and swings from uncomfortably low growls to high-pitched squeals. Her voice, the piano, and drummer Brian Viglione’s beat spend the entire song fighting for attention. It doesn’t really bring anything new to the Dolls’ catalogue, but damn, it sounds great.
From that point on, the album veers back into Ben Folds territory. It’s a solid album all the way through, but not terribly noteworthy from a career-growth standpoint. The album closes with Boston, a song which tries really hard to replicate Truce, the song that wrapped up their debut album. It almost succeeds, but it only in writing the same song over again.
I spent a week listening to this album over and over, trying to decide what I thought about it, and finally came to the realization that as intensely as I’ve listened, if I still haven’t formed an opinion, it can’t be that thought-provoking. The Dresden Dolls are at their best when pushing buttons and gender boundaries, and when going full-out nuts on the two instruments they play. They’re great musicians, Amanda writes very funny and clever lyrics, and they generally do an excellent job of walking the line between gloom and humor, but if they don’t start doing something new, they’ll fade away as a gimmick. They’re a better band than that—I just hope they realize it.
I braved two of the things I loathe most today in order to see two things of the things I really enjoy. Loathe: Crowds and the sun. Enjoy: The Decemberists and Barack Obama.
So just what was that yellow bastard doing out here in Portland, anyway?
The sun, I mean. Not Obama.
I woke up a little bit later than I’d planned, so I wasn’t expecting to get in. Little did I know that an estimated 75,000 people showed up, and most of them were somehow behind me. Not sure how that happened. It probably didn’t hurt that I completely and totally cheated when I spotted a large gap in the line (which wrapped all over the city, veering in any direction the shade went) somewhere around the corner of Jefferson and 2nd and took advantage.
The Decemberists played a surprisingly long set, considering the circumstances. They stuck primarily to more politically-charged songs such as 16 Military Wives and Sons & Daughters, which makes a certain kind of sense given the setting. An occasional song having nothing to do with politics or war slipped in now and then, such as show opener The Crane Wife 1 & 2, July, July! and The Perfect Crime #2.
As the gathering was all about togetherness, Collin Melloy worked a lot of audience participation into the show. We wiggled our fingers in unison, waved our arms, and filled in la dee da’s whenever they showed up. During the final song of the set, Sons & Daughters, Obama supporters chanted “Here all the bombs fade away,” and with any luck come 2009, we’re headed to that place.
Campaign speeches are mostly made up of candidates placing a box in front of you and telling you what the label on the box says without really understanding what the contents of the box are. Let’s say I put a box in front of you that says “CLOTHES.” Useful information, but it doesn’t tell you what’s really inside—there might be a vintage tee-shirt with a kitten painted in glitter puffy paint inside that motherfucker! You never know what you’ll get when you start labeling things without knowing what the hell you’re talking about.
Obama’s speech was decent, as far as stump speeches go. Obama does a pretty good job of unpacking those boxes and telling you what’s inside. That’s what I like about him. Also, his taste in music isn’t half bad.
Barack "I say Democratic, you say Nominee!" Obama
Comments
Being a relocated Oregonian(now in N. CA) I've attended many an event in Waterfront park. That's odd they put the stage at the top of the bowl. I liked the Blues fest where they put a stage at either side of the bowl. This looks like it was still enjoyable though. Thanks for the headsup. Seeing this makes me miss Portland!
Obama's first three words were "Wow, Wow, Wow!"
He also said it was the most spectacular rally they had held in their entire campaign. Beautiful day, 75,000 people, perfect backdrop. Who can argue with that!
If the entire country was like Portland, he'd be in great shape.....unfortunately, it's not :o)
GET OUT THERE AND VOTE!
I saw Bat for Lashes last year on their last US date at the Doug Fir Lounge in Portland. It was a great show (small venue, even when you're far away you're close), and the highlight was the alternate take of Sarah they play live. It's totally stripped down, much darker than the studio version, and the guitar in this song is amazing. Turn the volume up for this video - it's a decent recording but the volume is a little low.
I would love to hear a studio recording of this song someday. Pretty please, Natascha? (and maybe a date while we're at it?)
My Digital Music Collection
Recently Added to Music Collection
MOG Meter
Comments
Great review, again. I really like Dresden Dolls, but your comments (and the two songs you've linked to) make me doubt there's much new on No Virginia. A pity.
I totally agree about the out-of-control punk quality. They're at their most compelling when they wear this influence on their sleeves ... The Ben Foldsy stuff is, well, not as remarkable.
based on the song you attached in the post, i've got to agree. it sounds like the dresden dolls when i first heard the dresden dolls. however, it's an enjoyable enough thing to appreciate. loving the super-fast tempo.
Great review! I know what you mean about wanting to hear something unexpected and not just more of the same, or worse, more of the same only not as good as the first time around.