Amanda Palmer – Who Killed Amanda Palmer?

Amanda Palmer is one half of the punk-cabaret duo The Dresden Dolls. The strange, eclectic and exotic duo captivated their listeners with their unique style and delivery – not to mention Palmer‘s seductive voice and suggestive lyrics (My First Orgasm is one of their songs). However, not content to stay solely within their uniquely crafted sub-genre, Palmer decided to try out a solo career – leaving the future ofThe Dresden Dolls in doubt – and attempt something slightly different.

That something slightly different is Who Killed Amanda Palmer?. A record that is decisively strange and oddly alluring at the same time. Palmer fluctuates from sparse, empty and bare soundscapes to ones which are much more luxurious and plush. Many of the songs still contain that cabaret like feel of The Dolls, however, there is a different vibe coming from these songs – enough so to understand why she opted for the eponymous title opposed to the moniker. The songs lean heavily towards a pop direction with a emphasis on piano melodies and dark, crawling vocal harmonies.

That is the odd allure of Amanda Palmer. Erie, dark, and melancholic yet seemingly soft and beautiful at the same time, Who Killed Amanda Palmer? is a stranger and diverse album – something which is both the selling point and the downfall of the album.

For this weird and passionate delivery works wonders when it does work but when it stumbles, it stumbles hard. This makes for a roller-coaster of a ride as during one song you’ll be swept away and another you’ll be lulled asleep; a fact that makes it impossible to truly enjoy Who Killed Amanda Palmer? all the way through.

The record kicks off on the right foot with a passionate and energetic piano/drum introduction in Astronaut and the momentum continues through the first few tracks; like Runs in the Family which features a great marching drum beat and personal lyrics about a dysfunctional family and hereditary traits. Ampersand is the first real hiccup, but even that doesn’t need to be as there are shining moments in the song; but at six minutes long, it lacks the punch and energy that the opening two tracks contained. Leeds United however doesn’t have any shining moments and only the lyrics save Blake Says.

Now, many people will just say “Well, you just don’t like the slow songs, they don’t need to be screaming to be a good song.” To that I’ll remind you that my favorite Dresden Dolls song is Sing, a very slow song, and point out that two of the best songs on Who Killed are both slow. Have To Drive is a soaring and eerie song that merges Palmer‘s vocals and piano with the Via Interficere Choir of Nashville to create a song that builds and builds until it boils over completely; and The Point of It All (one of only three songs without a guest appearance on the record) really showcases Palmer‘s vocals. But right away they destroy it all with the dismal and bland closer, Another Year – a feat that just cements the bi-polar attraction of the record.

Still, there’s something that keeps me coming back to Who Killed Amanda Palmer? Something in her vocals and odd turn of phrases (who else could make a song about rape feel both funny and upbeat?) shows that she’ll be riding the singer-songwriter phase for a while. It’s just too bad that allure is only found in half the songs on her solo debut.