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WomanRock - May 2005


Dresden  Dolls
Punk  Cabaret’s Darlings

By Tina Whelski

“Coin-Operated  Boy/Sitting on the shelf/He is just a toy/But I turn him on/And he comes to  life/Automatic joy/That is why I want a/Coin-Operated Boy.”  These lyrics  from the opening of the Dresden Dolls song “Coin-Operated Boy” were my first  introduction to the punk cabaret duo’s self-titled debut CD and I found their  delirious plunge into the depths of dark, vulnerable emotions so fascinating,  I think we should explore further.  Listen for the rompy oomph pah pah  oomph pah accompaniment from drummer Brian Viglione and latch on to Amanda  Palmer’s vocals as she twinkles piano keys, vibing a child nursery innocence  that make the “picture of girl getting bitter” more tragic.  “I will  never leave my bedroom/I will never cry at night again/wrap my arms around him  and  pretend…”

 Above  the din, like many Dresden Dolls songs, there is playful musing, but like the  illusion of carnival sounds, something sadder lurks.  This story’s  disenchanted girl bets “a billion dollars” she’ll never love you…but won’t you  try to convince her otherwise?  “He may not be real/Experienced with  girls/But I know he feels/Like a boy should feel/Isn’t that the  point/Coin-Operated Boy.”

While  “Coin-Operated Boy” is certainly a highlight, the entire CD is filled with  Dresden Dolls’ song-oriented conundrums.  With its opening drum  blast and manic-depressive melodies the psychologically pressed “Girl  Anachronism is a flurry of madness and minor keys.” Lines like, “You can tell  by the scars on my arms/And the cracks in my hips/And the dents in my car/And  the and the blisters on my lips/That I’m not the carefullest of girls,” are  surrounded by Viglione’s panicky instrumentation and wash an image of a girl  with knots in her hair and bruises on her thighs who can’t connect.   “Good Day” captures a surreal soundtrack akin to the visuals of a Tim Burton  movie and “Missed Me” is simply sinister and troubling. Clear away the smoky  cellar sounds and you’ll find the Dresden Dolls submerged in their fantasy of  Germany’s Weimer-era cabaret.

Palmer  talks to WomanRock about Dresden Dolls’ music and attraction to old-school  cabaret, their tour with Nine Inch Nails and the band’s desire to transport  audiences far away from the anxiety and doldrums of every-day life.

WOMANROCK: Not  to pick a favorite song, but “Coin-Operated Boy” is brilliant.  Your  musical and lyrical choices perfectly capture that innocence of girl losing  her fairy tale fantasy of love.

AMANDA:  The most interesting thing to me about that song is the fact that I really  didn’t think it was going to go anywhere when I brought it to Brian.  Not  because I didn’t think it was a good and funny little song, but because I  thought that’s all it sort of was.  I played it for him thinking, “I’m  sure we’ll never add this to the set or anything, but isn’t it a funny little  song and why don’t we play it at one of the shows.” Even after we had played  it at a couple of shows and went in to record it was at the very bottom of the  list of songs to put on the record…Meanwhile as that was happening and we were  going through the whole pre-production for the record, which took a few months  of back and forth, we were playing all these live shows and people kept  requesting that song.  Over the course of a couple of months it became  everyone’s favorite.  That was this little hint to us that maybe we  should stick it on the record.  Low and behold it became the  single.  That’s really comforting to me to think that my judgment of my  music is so off base that something that I sort of wrote as a joke could turn  into a  hit.

WOMANROCK: How  did you bring your punk and cabaret elements together to create Dresden Dolls?

AMANDA: Well  that’s always an interesting question for me to try to figure out… I think  looking at my music collection from seventh grade and then again from tenth  grade and then again from twelfth grade gives you a good clue to unlocking the  mystery to where such an erratic sense of style comes from…The music  collection from when I was really young had The Beatles, The Beach Boys,  Prince and Madonna and the soundtrack to Evita.  Then when I got older it  was The Cure and The Legendary Pink Dots and Leonard Cohen and things.   When I got a little older, it was Laurie Anderson or experimental music and I  got into stranger and darker things.  But all my favorite albums of all  time have all had that one essential thing in common, which is that they’re  very much writers’ records and the music has never been as important to me as  the  words.

When I  used to go record shopping when I was a kid and I would go into Harvard Square  and root around in all the used record stores just looking for music and  looking to see familiar names and bands that my cool friends had t-shirts of  and stuff, the litmus test to me was that I would pick up the record or the  tape and I would pull out the artwork and I would read the lyrics.  If  the lyrics looked stupid to me I wouldn’t buy the record.  I still do  that.

WOMANROCK:  Is seventh grade when you started playing piano?

AMANDA:  No.  I started playing piano when I was really young.  My folks got  divorced and my mom moved up to Boston.  The first house we moved into  had a piano in it…I think I was actually like two…I was always playing it, but  I wasn’t one of those child prodigies who could sight-read Bach and  Mozart.  I always really clung to my independent spirit being a hack and  it’s painful to me to this day…Now I wish I could sight-read other peoples’  music and I find it very difficult, but on the flip side, I developed my own  style.

WOMANROCK:   When did you start beating your piano (laughs).  You didn’t play like  that as a little girl did you?

AMANDA:   (Laughs).  Oh, you should ask my poor step-father because I have a great  recording.  It’s like this unspoken joke we have.  I have this  recording of when I’m like fifteen or sixteen.  I used to always keep the  tape recorder by the piano to record little sentences, ideas or songs or  whatever.  We were always battling about my piano playing because he  didn’t like the noise in the house.  I have a bunch of recordings of him  walking into the room telling me to play more quietly or to stop.   There’s a great one where he crashes into the room and he literally loses  it.  He’s like, “Amanda it’s 11:00 at night and what you’re playing  doesn’t even sound like music.  You’re just banging on that thing and  getting your aggression out and we’re going to send you to a  psychologist!”  It’s true.  You listen to my old recordings from  when I was fifteen and I’m treating it like a pure percussion  instrument.  It’s funny when I look back because Brian was doing the same  thing on his drums.  We were both really frustrated kids.  

WOMANROCK:   You met Brian at a gig at the artist’s collective in Boston where you still  live.  He was attracted to your storytelling?

AMANDA:   And the pounding (laughs).  He liked the pounding too.  The story of  how we met is actually very auspicious because it tells you a lot about where  the band has ended up present day and all the artists we work with and the  atmosphere of the live shows…I moved in here in 2000 right at the beginning of  the year and I immediately started producing events, sort of like cabaret,  salon-type parties where bands that I knew and performance artists and noise  artists, whoever, would just come and I would put together a performance  schedule.  The house has four floors and a garden and there was just  stuff going on all night in all the different spaces and I was just trying to  bust out on my own as a solo performer.  I would play at my own events  and that’s where Brian found me.  He got dragged over to a Halloween  party here that I was throwing and I played at the end of the night.

WOMANROCK: Do  you remember your costumes?

AMANDA:  Well it’s embarrassing to me because I was so, although it’s very telling, I  was so busy running around producing the event that I didn’t have time to  think of a costume so half an hour before the party started I just dressed up  as a temporary office worker, which for me was so out of character that it  looked bizarre.  Everyone that knew me was horrified.  I put on a  smart little black suit and a string of pearls and some clip-on earrings and  did my hair up…Brian had played with his band the night before at a club and  they had done the entire album of Pornography by The Cure…He just wore  the costume he had worn the night before which was just a strange black  costume with his face painted white and blood dripping off of his head.   I saw him across the room and I remember seeing him and being like, “God,  who’s that guy? Definitely looks like an ally.”

WOMANROCK:  Was the current look of the band your doing?

AMANDA:  Well it’s funny because people sort of see it as a thing.  To me the look  of the band is the result of five minutes’ worth of spontaneity one night when  Brian and I were about to play with a Burlesque troupe and we said, “Hey, just  for shits and giggles let’s dress up tonight.” I had a black dress and striped  tights and Brian had a suit and I said, “Ah, let’s paint our faces.”   Brian said, “Sure, sounds cool.”  That was that…We both felt the real  tangible, palatable difference in how we felt on stage and how the audience  responded to us. There was just something.  Once you put a mask on, once  you put makeup on, once you wear a costume, the audience sort of takes a  deeper breath and looks at you and they sort of expect a little more from you,  but they give you a little more and there’s something magical about  that.  We felt that that night.  We didn’t even talk about it, but  next time we had a show we both looked at each other and said, “Let’s do that  again” and that was it.

WOMANROCK:  Did you always have an attraction to the old-school  cabaret?

AMANDA:  Well the thing about cabaret is I know as much about cabaret as the next  person.  To me it’s just as vague and ambiguous a term as everyone else  seems to think it is because a cabaret is a genre and it is a place.   Nowadays it’s a genre that if I opened up the paper and went to the cabaret  listings there would be nothing that I’m interested in, cause it’s just  generally going to see show tunes and standards sung by a woman in a sequin  dress with a piano accompaniment. That’s just not my thing.  But it’s the  fantasy of the cabaret.  Cabaret the musical.   Weimer-Germany cabaret.  Kurt Weill cabaret.  That excites me the  way some people can’t get over the fantasy of Woodstock or something like  that.  There’s just something about it where I look back and I say, “God  that must have been amazing.”  But it’s got deep meaningful associations,  artistically, aesthetically, politically, just the way saying Woodstock  does.  It’s not just that there was this concert.  There was a  movement.  There was an idea.  There were political things  happening.  There was a change afoot.  That’s what was happening in  Weimer Germany.  There were a lot of risks being taken, a lot of great  political satire and a lot of, at least in the fantasy, a real exchange of  ideas between artists.  The idea of the cabaret being the place, like the  cauldron, where all these artists meet, drink, get crazy and come up with  their wild ideas that they then go out and spread into the world is the  fantasy that I have in my head.  That is what we try to do with the  shows.  We want to make sure that it isn’t going to be an ordinary  fucking night where you show up, buy your ticket, buy your beer and you watch  the band, but that you’re going to a place where something’s happening. It  doesn’t matter what’s happening.  It’s different every night, but we want  people to walk through the door and feel like coming to a Dresden Dolls show  means that you’re going somewhere special and that’s sort of where we enlist  the help of our fans.

WOMANROCK:  Tell me about your extra ensemble entertainers.

AMANDA:  We invite the fans to do anything they want.  We encourage them to do  things that will work within the context of people coming to a show and  hanging out before the show…On this next tour we’re going to see everything  from living statues in the clubs and outside, to people doing magic, to belly  dancers and aerialists to fortune tellers.  There’s definitely a very  carny element to it.  The cool thing is there are plenty of kids who come  to the Brigade, which is what we call it, and say, “Well I want to do  something, but I don’t have any special talent.  I can’t juggle  barbells.  I can’t do anything special.”  These kids who don’t have  any kind of carnival-type talents will come up with these insanely creative  ideas.  We saw on this last tour, this girl folded a ton of origami and  put it in a big basket and put this crazy costume on and walked around handing  it out to everyone.  We just encourage people to be as random and  spontaneous as possible.  We’ve also had people hide in the bathroom at  the clubs and play violins and saxophones.  It’s whatever you do.   Can you incorporate what you do into the show or can you come up with  something and if you can, bring it on.

WOMANROCK:   That’s fun.

AMANDA:  Yeah, it’s totally cool.  Sometimes it goes horribly awry, but sometimes  it’s the most incredible thing.  The most beautiful thing is almost every  night Brian and me are surprised because we’re so insanely busy now that we  actually have someone else organizing the whole Brigade.   So, we’ll  show up in like Cleveland and we’ll go into the club and all of a sudden we’ll  see all this stuff happening and these human puppets walking around.   It’s a beautiful thing for us also because being on the road can get really  mundane and repetitive and tiresome and it keeps the tour from getting  boring.  We’re actually getting a show every night in return for what  we’re  doing.

WOMANROCK:   I’m trying to picture your Brigade mingling with the Nine Inch Nails fans on  your upcoming  tour?

AMANDA: I  don’t think we’re going to do it at the Nine Inch Nails shows because it’s  just not right.  A lot of what these people do is also very dark, a lot  of the living statues, there’s a lot of very burlesque-looking stuff and  there’s a lot of bloody, gory looking stuff.  It falls somewhere between  Halloween and Mardi Gras.

WOMANROCK:  Trent Reznor hand-picked Dresden Dolls to open the Nine Inch Nails  dates.  Are you psyched?

AMANDA:  Absolutely.   We actually already played two dates with them in  London and that was wonderful.  They were exceptionally kind  people.  We were a little apprehensive about how we would be received by  the fans of Nine Inch Nails.

WOMANROCK:   Yeah, I was curious about that.

AMANDA: Well  so were we (laughs).  We were more than curious.  We were a  combination of curious and terrified…The fans at least in London were  incredibly receptive to the Dolls and not only did we leave stage unscathed  and no bottles were thrown, but the reaction from the audience was incredible  and we made tons of new fans.  I think if that was any indication of how  the states tour is going to go it’s going to be incredible.

WOMANROCK:  In the tradition of the old-school cabaret thinking, you guys try to bridge  the gap between theatre, music and politics.  Are there any programs  you’re currently involved in?

AMANDA:  We’re always doing different things.  One of the questions for us is  always how can we use the platform that the band’s been given by the fans for  good without abusing it, without being tiresome.  As far as the live  shows go, we do what we can, and anyone who asks to sort of do anything  politically at the shows, we give it really serious consideration and we try  to involve those things.

WOMANROCK:   That’s cool you try to give back.

AMANDA: We  just try to do what we can.  I think it’s very dangerous to just pick a  cause and cling to it.  I think one of the things that is important for  artists to realize is that you can be way more politically effective by being  the right kind of artist than getting up and waving a flag…By encouraging  people to even just be creative in their daily lives, you do so much to  nourish their hungry souls.  I mean people are so starved for the right  kind of stimulus and the right kind of support in their lives.  People  spend so much time watching television and getting barraged by advertisements  and confusion and war and death and it’s just like, “What can we do to not  add to that?  What can we do to actually ameliorate that?”  We  don’t want to be another one of eight million forces telling people what to  think, how to act and what they’ve got to do now, and say now  and fix now.  We’d rather just say, “For God’s sake, come to a  Dresden Dolls show and do something creative.  Use your imagination and  have some fucking fun because we’re not here for very  long.”

WOMANROCK:   We’re both very song-oriented, so let’s just dive into your lyrics.

AMANDA: I  never get asked about the songs.  “Girl Anachronism” started  interestingly enough, like “Coin-Operated Boy.”  It was sort of going to  be an in-joke to myself and there is a very specific story about it.  I  was a cesarean but my mother asked the doctor to take me out a day early…She  didn’t want me to be born on an odd day cause my mom is strange like  that.  Don’t ask me why.  It’s a whole other interview.  She  wanted me to be born on an even month, on an even day…I remember musing on  that point thinking what a great thing for a song to be this open letter  apology to the world for the fact that I’m such a flake, but I’ve got a great  excuse because I was taken out before I was finished (laughs). That was the  seed of the song and of course it became a free-for-all about my recklessness.

“Half  Jack” is my favorite song on the album and it’s one of my favorite songs to  play live too.  I wrote that one around the same time I wrote “Girl  Anachronism”…When I hear them as a set, they actually make a lot of sense  together because they grapple with some of the same issues…My folks had  divorced when I was really young and my relationship with my dad was very  formal and very obligatory growing up.  We were not close at all.   As I got older and older and learned about him through my mother I hit my  twenties and started really wondering about how much of who I am is made up of  what I’ve been through and how much is made up of the fact that I’m  biologically half my mother and half my father.  It’s that whole nurture  versus nature thing.  I was really thinking about the unfairness of how  little control we have over who our parents are and that’s basically what  started that song off.  It’s basically the idea that you can’t ever  escape the fact that you are literally made up of half your mother and half  your father.  It doesn’t matter who they are or what kind of relationship  you have with them, whether you’ve ever met them.  Of course like all the  other songs, it goes off on tangents.