, married singer Amanda Palmer (also of The Dresden Dolls) this weekend in Ayelet Waldman and Michael Chabon’s living room.
That’s a lot of literariness with musicality for spice in one living room!
But it's a tricksy formula to keep fresh, and though it's maybe unsporting to pick on May's .
To help us out, we've decided to focus only on her solo original work, so no Dresden Dolls or Evelyn Evelyn or her beloved Radiohead and David Bowie covers, well-done as they are.
The Dresden Dolls, formed by Brian (frantic drums, bowler hat, face paint, occasionally uses mallets for drumsticks) and Amanda (manic piano, vocals, lyrics, tattooed eyebrows, face paint, occasionally mimes mockingly to Avril Lavigne songs), and self-described as punk cabaret, make quirky, darkly humorous, passionate and playful songs, characterised by banging piano keys, defiant/vulnerable vocals, temperamental key changes, intricate melodies and drums that shift direction at every whim.
Funny thing is, whether that description was glib, cynical or deadly serious, she actually summed them up almost too perfectly.
Palmer and Brian Viglione don't exist in a total stylistic straitjacket, but by and large The Dolls' music sounds exactly like the sum of the pair's parts: the Weimar Republic aesthetic, Palmer's violent ivory bashing, forceful but limited voice, lyrical preoccupation with herself and other fuck ups, and the dramatic backbone of Viglione's powerhouse drumming.