One could call the Dresden Dolls absurd and one would be correct. One could call them elegant and one would also be correct. That’s the thing with the Dresden Dolls- they’re not exactly the easiest band to pigeonhole. They’ve been labeled everything from punk cabaret to theatrical new wave rock. After their triumphant self-titled debut album with quirky and highly unique numbers such as “Girl Anachronism” and “Coin-Operated Boy,” (which was played on rather frequent rotation on MTV2, garnering a growing fanbase) we can do little but throw up our hands and exclaim, “Who cares? They’re brilliant!” The show goes on with Yes, Virginia, their sophomore album.
The duo comprising the Dolls includes Amanda Palmer with her shotgun vocals and playful keyboard chords, and Brian Viglione’s powerhouse percussion and bass. Yes, Virginia marks their second album which celebrates their rise from the underground of alternative punk to their more mainstream welcoming. Compared to its predecessor, this album takes all the cheek and vigor from its last collection of songs and creates an equally energetic and steely symphony of melodic dissonance that they are so revered for. Yes, Virginia audio-winks at each and every listener. The Dresden Dolls’ penchant for black “bleeding-heart” humor doesn’t fail to entertain in each song’s show-and-tell of dreary Tim Burton-esque narrative. With tracks entitled “Mandy Goes to Med School” and “Me & The Minibar,” tongue is set clearly in cheek. Palmer wails and screeches about everything from morning masturbation to Holocaust-denying old women while Viglione rapid-fire drums away with an unmistakably catchy rhythm.
Their ability to create their own brand of rhythm and rhyme places them within their own league of musicians who are bound to be a set point of departure for many imitators and fervent admirers; they are not the sort of band who fades away with the fad. The image of the rich decadence of society and humanity is ingrained onto their album covers, likening to a vaudeville portrait of decaying theaters and sorrowful graphitized hallways and stairwells. The aspect of costume that both Palmer and Viglione dedicate to their performance and persona adds to this vaudeville feel of cabaret and punk. Truly talented story-tellers within their art form, The Dresden Dolls will continue rocking out under their bowler hat, striped stocking guise and Alice in Wonderland repertoire as we follow with eager ears.
Crossed Keys – Saviors
Saviors shows the work of well-seasoned musicians finding new energy in old sounds
Philadelphia’s Crossed Keys are an interesting intersection between melodic hardcore and punk, taking an earnest approach to the sound that made its way from the underground in the late 90s and early 2000s. This relatively new outfit is the result of Kid Dynamite and Samiam in a blender- in the best way possible. The Kid Dynamite influence may be a given since Crossed Eyes features KD’s drummer Dave Wagenschutz, but the band’s pedigree also includes members of bands like Zolof the Rock & Roll Destroyer and The Curse, all backing the melancholic vocal work of frontman Joshua Alvarez (Halo of Snakes). So while Crossed Keys are somewhat new, its members have been cutting their teeth within their respective circles for years, and their new EP Saviors shows the work of well-seasoned musicians finding new energy in old sounds.
Saviors is backboned by the furious urgency and energy that Kid Dynamite showed through their history, but while Jason Shevchuk’s vocals were beautifully abrasive, Alvarez takes a more restrained, wistful approach to singing. Songs like the opening “Times of Grace” are musically up-tempo percussions and razor-sharp guitars, but are buoyed by Alvarez’s more melodic vocals. His vocals rest at a good place between Samiam’s Jason Beebout and that NYHC tone exhibited by bands like Token Entry and Grey Area. In songs like “R.J.A” and the closing title track, Crossed Keys find more success with their brand of blistering speed meets harmony- slowing down only for the kind of melancholic punk that made Samiam a noted name. While much of Saviors is built on pace, it wasn’t always this way for the band. In fact, their 2017 EP, I’m Just Happy That You’re Here, leans closer to Samiam than it does to Kid Dynamite (the song “Jeff Pelly vs. The Empire” is particularly fantastic), so there’s been an uptick of urgency with Saviors.
For fans of any of the aforementioned bands here, there is plenty to like with Crossed Keys and plenty to like in Saviors. It’s succinct, to the point, but filled with ample reflection and exploration that gives the EP depth and resonance. Any band that has found influence from Kid Dynamite is most certainly OK by us (this site is named after a KD song after all), but Crossed Keys does more than just tip their cap. This one’s a really good one, and worth your time.
Every last time: Revisiting Gameface’s “How Far Is Goodbye?”
A glorious sound of a time gone by
Southern California’s Gameface were always a band that seemed perfect just below the cusp. Their brand of pop-tinged punk was somewhere in between the melancholy driven emo of the early 1990s to what would become of radio-friendly punk bands evolving from the Jimmy Eat Worlds of the… world.
I loved this band. It was songs like “My Star” and “When You’ve Had Enough” that captured my attention. They didn’t fit in with the punk explosion of the mid-90s and had more melodic chops than those that remained in the underground with bands like Quicksand and Texas is the Reason (the latter being the most musically similar).
To this day, I count their track “How Far Is Goodbye?” as one I can listen to on any given day and still feel the same way about it as I did years ago. It’s a glorious sound of a time gone by, and Jeff Caudill, who has been the backbone of their songwriting since the beginning, has still got the chops his ilk can only dream of. There’s a tinge of melancholy that conjures up a certain sadness, a scene in a movie where the protagonist is making their exit into the distance as the scene closes. Something about the song, the sentiment, and the lyrics that always reminds of driving away while looking at the rear view mirror.
Five years ago Gameface released a new album, Now Is What Matters, an album that perfectly encapsulated their ability to write with emotion, melody, and magnetism that only a select few seem to possess. I interviewed frontman Jeff Caudill before the album came out to chat about the band, an interview I think still holds up. Caudill has been busy since then with a lot of solo material, while the band themselves have been releasing music sporadically (mostly singles) since 2014.
While their catalog is deep, there’s one song I keep coming back to, and that’s “How Far Is Goodbye?”. Originally released on the split 10″ vinyl with Errortype: 11 in 2000, the song received an update in 2018, which you can hear below.
Gameface photo from Gameface facebook page.