Photo by BriAnna Olsen
AMANDA PALMER has got street cred, an oxymoron considering how damn popular she’s become. She is the indie hype of 2012 which is special considering that she created it herself. And i mean that as a compliment – hot Amanda is no hot air; she’s hype preceded and followed by substance. Consequently, i dedicate this week of blogs to her (and all the wonderful people that have helped her make terrific music).
Most, like me, will have come to know her as half of the duet THE DRESDEN DOLLS, particularly for the song ‘Girl Anachronism’ and, maybe more so, for the video of that which resulted from their signing with Roadrunner Records. The band were a highly unlikely addition to the label that had sold heavy acts, such as Slipknot, to the world. It was to become a relationship of grief and learning that would send Amanda Palmer on an indie path back to reality. But, then, ‘Girl Anachronism’ was glaringly fresh, a tribute to individuality. The video dressed her in a myriad of costumes, a wonderful schizophrenia of colour. Whether intentional or not, it was a highly appropriate reminder of her roots.
Her roots began as a musician in her mid-teens with a passion for acting. School drama evolved into street theatre with others under the name Shadowbox Collective. This included her busking as a living statue in England, Scotland and Australia. After the 2000 formation of dark cabaret act, DRESDEN DOLLS (her on keyboards/vox and Brian Viglione on drums), they invited drama students to perform before their shows. This included students from her old school, Lexington High. She would further display her genuineness in 2009 when she assisted her ex-drama teacher with the school’s latest production. They went on to gig together too.
A 2001 demo was followed by the mostly live compilation, A Is for Accident. Self-produced, their eponymous 2002, The Dresden Dolls, led to their signing with Roadrunner. The label re-released it and Yes, Virginia… (2006) and No, Virginia… (2008) followed.
When Roadrunner allegedly objected to her “fat tummy” in the video ‘Leeds United’, fans respond with a protest called The ReBellyon that took the form of posting pictures of their tummies on the internet and in The Belly Book. Amanda fought to be dropped by the label and, after much fan support, and her composition of the song, ‘Please Drop Me’, they did.
Amanda had already stepped back into the indie scene 2007, the previous year, when she collaborated with Jason Webley in a show tune, folkish project called EVELYN EVELYN that resulted in the Elephant Elephant EP (which was not an EP at all if you add the 6 track bonus CD that accompanied it). In 2010, several of these tracks would find company on the full release, Evelyn Evelyn.
Photo by Gregory Nomoora
AMANDA PALMER’s solo career refound itself with the Roadrunner release, Who Killed Amanda Palmer in 2008. Notably, Ben Folds produced and Neil Gaiman, one of my favourite authors (Neverwhere, American Gods, The Graveyard Book), wrote the words to the accompanying photobook. Amanda would marry Neil 2 years later. The indie release, Amanda Palmer Performs the Popular Hits of Radiohead on Her Magical Ukulele EP birthed the same year, fuel for fans until 2011′s sometimes hilarious release, Amanda Palmer Goes Down Under.
This year, 2 0 1 2 , is her biggest triumph. Amanda knows how to network! She is intimately involved with her fans through her personal blog and press releases. She set the Kickstarter record by raising $1.2 million in pre-orders for hers and the Grand Theft Orchestra’s latest album, Theatre Is Evil. It’s just been released and it’s her best so far!
It certainly seems that Amanda’s greatest talent is to be herself which in turn encourage others to be themselves. Being outspoken yet personal, bisexual and married, wearing makeup whilst naked, and an independent musician whose a star would maybe be contradictions in another but with her it’s very much a fantastic, goddamn show with many parts but always a whole – AMANDA FUCKING PALMER indeed!
This blog dedicates the week to Amanda Palmer so there’ll be reviews and videos on the way. In the meanwhile, enjoy these sidetrips:
Melody vs. Meditation, an article Amanda wrote for the Buddhist publication, Shambhala Sun.
This cover of Nirvana’s ‘Polly’ is both chilling and brilliant:
‘Do You Swear to Tell the Truth the Whole Truth and Nothing but the Truth So Help Your Black Ass’ (the song Amanda composed after Dresden Dolls escaped their contract with Roadrunner Records):
Cover of Radiohead’s ‘Ideoteque’:
And that song for Roadrunner Records:
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BISEXUAL, my ass.