Review Summary: The girl anachronism steps out on her own, with mostly brilliant results.
Ahh, the solo album. It is difficult to know where to stand on the matter, as they can result in one of several ways. In some cases, such as Alexisonfire’s Dallas Green and Rilo Kiley’s Jenny Lewis, a firm identity of music a significant degree away from their band’s music is confidently established, often to critical acclaim. In others, the project suffers simply from sounding too similar to the band which they are trying to distance themselves from with the album, in turn losing personal musical identity in the process. Death Cab for Cutie’s Chris Walla, and his solo record of earlier in the year, is an example of this.
In light of this, our attention now comes to Miss Amanda Palmer. Chances are you will have seen her as the piano-abusing, facepaint-wearing and quite possibly mentally disturbed frontlady of The Dresden Dolls. Whilst on the road with her drumming partner in crime, Brian Viglione, Palmer has been writing songs she feels does not fit with what she normally does as part of the Dolls. After many years of doing so,
Who Killed Amanda Palmer? has, at long last, come to fruition.
With fellow piano rockstar Ben Folds on production duties, the record is certain to divide listeners. A passing listener may criticise the songs on offer here for bearing too much resemblance to Palmer’s Dresden Dolls work. Often, this is a valid point- the black humour and the deceptively upbeat manner of “Oasis” and the big-band singalong of “Leeds United” certainly reflect the dark cabaret that make the Dolls unique. Scratch a little below the surface, however, and a large handful of these songs are revealed to deeply introspective and uncompromisingly honest gems.
Take, for example, the simple-yet-effective pleas of “Ampersand”. A simple walk home turns to Palmer’s reflections on independence- “I’m not going to live my life on one side of an ampersand/Even if I went with you; I’m not the girl you think I am”. Accompanied only by her piano and a string quartet, this suits creates the perfect environment for the song, particularly in the song’s bridge, where the intensity increases tenfold as Palmer menacingly spits “The headstone's all ready/ All carved up and pretty/Your sick satisfaction/Those his and hers matching” over a slicing crescendo.
As the album progresses, particularly near its middle section, we are treated to other songs that distance themselves from the Dolls on pure emotion wrought alone. “Strength Through Music” begins with a bizarre sample of an even more bizarre online animation series, Stringberg and Helium. With the piano distant and echoing, the vivid lyricism takes centre stage, depicting a wayward miscreant who goes on to become a murderer- “It’s so simple, the way they fall/No cry, no whimper/No sound at all”. Easily the most basic song on the record in terms of song structure, it is nevertheless a triumph, making great use of Folds’ intimate production and a heart-wrenching, whispered chant of “tick, tick, tick, tick”…ending, with subtle force, with a final breath of “boom”.
Other themes throughout the record include the obstacles of succeeding in life (“Another Year”), the loss of a real life through drug abuse (“The Point of It All”) and a bitterly ironic outlook on love (a hugely unexpected Rogers & Hammerstein cover, “What’s the Use of Wond’rin?”). You will be hard pressed to find a better song in Palmer’s arsenal, however, than “Have to Drive”. The song is perfectly layered musically, with a beautiful string arrangement, as well as featuring perfectly executed key changes and movements. Palmer simply does not rest on her laurels. Anything she has created ambitions for away from the Dolls is present here topped off with some remarkably overwhelming lyrics, delivered with a distinctive uneasiness that can only come from the most deeply personal of tales. Palmer portrays herself as “powerless and small”, fighting “the jury in [her] head”, dealing with the consequence of a late night car accident:
“We suffer mornings most of all
We saw you lying in the road
We tried to dig a decent grave
But it’s still no way to behave”
Initially, it is a difficult song to get through, with the potential to overpower the intent listener (as it did yours truly on first listen). The end result, however, is certainly a rewarding one- this is a genuinely beautiful piece of music.
All ground covered here is done so with slightly verbose wit and intentionally naïve metaphor. Amanda’s writing style is a unique beast, delving into humour, emotional torment and secretive storytelling in order to convey her message. This is accentuated to a further degree by Palmer’s piano skill that mixes the pop sensibilities of Billy Joel with the quirks of Randy Newman and her beloved producer. Better yet, it’s not just the piano that’s featured here- a Rhodes organ is taken to on the extravagant “Guitar Hero”, which also features Dead Kennedys’ guitarist East Bay Ray, giving the song a warm groove. Meanwhile, an infectious arpeggio-laden synth line flies into the mix of the frantic album highlight “Runs in the Family”. Guest cellist Zoe Keating also makes welcome additions to the record, particularly on the opener “Astronaut”, where her instrument’s sound ranges from chillingly low-key to a driving force.
Ultimately, if there is anything to criticise about Palmer’s debut, it’s that she is still finding her feet as a solo artist, and not thinking far enough outside the square. Of course, this is simply to be expected, and for what it’s worth
Who Killed Amanda Palmer? is a solid listen, and yet another hot contender for album of the year. With this out, and the next Dolls album on the horizon, it seems almost a certainty we shall be enjoying the works of this exceptionally talented young woman for quite some time to come.
