Rock bands are pigeonholed into ever-increasingly minuscule sub-categorizations, but The Dresden Dolls continue to defy explanation and classification. While some have called it theatrical rock, punk cabaret, manic-musical, neo-glam-torch, eventually even the most clever and creative describers shrug and say: “You just have to hear it to believe it.”
Living in a two-faced, popular culture built on artifice that demands authenticity; The Dresden Dolls take the world stage, tear down the curtain, rip holes in the veneer and create their own rules, rhymes and reason. For the past six years, the duo has been climbing steadily out of the artistic trenches and into the mainstream of rock on their own terms. The Dolls thrive on their inherent juxtapositions. The musical-theater and New-Wave background of writer/singer/pianist Amanda Palmer mixes with drummer Brian Viglione's heavy metal roots to create a sonic smear of unclassifiable rock. Palmer wails. Viglione cackles. It is this dichotomy that supplies the band with a yin-yang quality that keeps them hurtling through space, pulling each other to and fro in an endless - and highly entertaining - match of musical wits.