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PRESS TYPES
| 06.2007 / Chart Attack | 
 | Cyndi Lauper certainly picked a good time to bring her True Colors benefit concert to Toronto - right in the middle of Pride Week. The inflated ticket prices went down easier knowing a portion of the proceeds went to the Human Rights Campaign and to Toronto Pride, two organizations advocating equal rights for gay, lesbian, bisexual and transgendered citizens. The main draw, however, was that one ticket got you in to see three acts so big they used to pack stadiums in the '80s, some great up-and-comers and shameless comedienne Margaret Cho. | 
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| 06.2007 / San Diego Citybeat | 
| Queer as pop Dresdon Dolls among acts plugging in for gay rights on the 'True Colors' tour |
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| 06.2007 / The Boston Globe | 
| It started with a song, which accidentally became an anthem, and now has inspired -- as host Margaret Cho introduced Saturday's five-hour spectacle -- the world's first all-gay-icon music festival. The True Colors tour, which takes its name from Cyndi Lauper's 1986 hit, benefits the Human Rights Campaign, and nowhere was the show's message about celebrating freedom and diversity more powerful than in its lineup of performers -- not so much in the sound of the music but in each artist's unique celebration of the outsider. |
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| 06.2007 / Somerville Journal | 
| Time has caught up with the Dresden Dolls. Six years ago, Amanda Palmer and Brian Viglione started their band with gothic-punk attire, songs about relationship confusion and a penchant for onstage theatrics. Fans loved it. The Dresden Dolls toured the world, via sold-out shows. |
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| 06.2007 / EW.com | 
| Last night's True Colors show at Manhattan's Radio City Music Hall was a lot like tour organizer Cyndi Lauper's feathered, rainbow umbrella hat ? colorful, funny, and very, very gay. Of course, considering the show (which also featured Margaret Cho, Erasure, Rosie O'Donnell, Debbie Harry, the Dresden Dolls, and the Gossip) supports the Human Rights Campaign, anything less would've bordered on objectionable. |
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| 06.2007 / Boston Herald | 
| Package tours often miss the mark, mixing music and audiences that were never meant to mingle. But in an event that was so unusual, Cyndi Lauper managed to pull it off. A wealth of talent rocked Boston?s Bank of America Pavilion last night as part of her True Colors tour, for a nearly continuously top-notch five hours. |
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| 12.2006 / The Boston Globe | 
| Somewhere in "The Onion Cellar," with its crashingly gorgeous music, its poetic images of bottled tears and scrawled sorrows, and its sleekly decadent Weimar/Vegas milieu, there's a fascinating play trying to get out. If this collaboration between the American Repertory Theatre and the Dresden Dolls provides only glimpses of that potential work, it's enough to make us long to see it in a more coherent form. |
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| 06.2006 / MIX | 
| This mesmerizing duo have caught many listeners off guard with their colorful stage presence (goth meets burlesque), manic musical aesthetic (punk meets cabaret) and edgy songwriting (romantic sentiments and deep thoughts doused with biting sarcasm and extremely frank observations). |
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| 06.2006 / Modern Drummer | 
| "On both of our records we played facing each other with just soundproof glass separating us. That way we could perform the songs with the same visual cues we give each other live, and thus maintain that spontineity and connection." |
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| 05.2006 / Rolling Stone | 
| "On their second disc, campy cabaret rockers The Dresden Dolls forge ahead with their weird brand of Wiemar-inspired punk musical theater." |
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| 05.2006 / Alternative Press | 
| "...the combination of Viglione's manic drumming and Palmer's intimate odes to sex changes, coin-operated boys and things that go bump in the psyche is something new and delightfully disquieting." |
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| 05.2006 / The Word | 
| "Featuring cameo appearances by Hitler, Aristophanes and Sudan's Janjaweed militia, these hyperarticulate show tunes constitute some of the brightest, boldest songwriting you'll hear all year. Good work, Virginia." |
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| 05.2006 / BUST | 
| "Live, the Dolls promise an absurd, theatrical stage show, outrageous costumes, and Amada penciling in her eyebrows as the performs. You ain't seen nothing like it." |
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| 05.2006 / HARP | 
| "The superfans of the Dead, Jimmy Buffet and Twisted Sister show appreciation for their idols by stalking and getting wasted in the parking lot... The Dresden Dolls' Brigade actually becomes part of the two-person goth-cabaret band's show." |
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| 04.2006 / The Boston Globe | 
| "...off stage as on, it is Palmer herself who commands the attention of the room." |
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| 04.2006 / Under The Radar | 
| "The Boston-based piano and drums duo burst onto the scene with their innovative cabaret punk tunes, a perfectly calculated aesthetic, and a truckload of poise and attitude to spare." |
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| 04.2006 / Independent | 
| "The epithet "unique" is overused, and often misapplied to artists who are unusual. In the case of The Dresden Dolls, it may be justified." |
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| 04.2006 / Entertainment Weekly | 
| "This duo does a pretty credible job of blurring the ideological and stylistic lines between rock and cabaret." |
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| 04.2006 / Elle | 
| "...vocalist-pianist Amanda Palmer and drummer-guitarist Brian Viglione whip up rattling, rallying rock energy out of crashing piano chords and bitchy melodrama on Yes, Virginia." |
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| 04.2006 / CO-ED Magazine | 
| "The Dolls prove that poetry, anger and alienation are best served via angry piano tinklin'." |
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| 04.2006 / Blender | 
| "What makes her (Amanda) screeds work is the music she and drummer Brian Viglione fervently pound out -- an amped-up grotesque of torchy vaudeville and European parlor songs that starts as high-concept camp and winds up strangely illuminating." |
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| 04.2006 / Skinnie | 
| "What makes her (Amanda) screeds work is the music she and drummer Brian Viglione fervently pound out -- an amped-up grotesque of torchy vaudeville and European parlor songs that starts as high-concept camp and winds up strangely illuminating." |
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| 04.2006 / Aversion | 
| "Underneath the cabaret and Goth overtones, Yes, Virginia is a deceptively smart album. Although many of the Dolls' contemporaries use their cabaret underpinnings as a crutch, the Boston duo delivers sharp songwriting that transcends the gimmicks inherent in cabaret revivalism." |
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| 03.2006 / Pollstar Online | 
| "...it makes a sort of cosmic sense for this undefinable duo to record on an indie label known for its roster of hard rock and metal acts (Roadrunner), and yet be booked and managed by two companies usually identified with the jam band scene (High Road and Madison House, respectively). "That's the thing we thought was totally hilarious!," Palmer said. "That's the kind of band we are. We're on a metal label with a jam band manager. It's about as schizophrenic as you could possibly get.'" |
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| 03.2006 / Washington Post | 
| Austin Power At South by Southwest, It's All About Volume, Volume, Volume |
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| 03.2006 / SOMA | 
| "The Dresden Dolls, by both ignoring the established rock and techno order, and letting their most resplendently feral pretensions run wild, had, most hilariously, frightened the hipsters." |
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| 03.2006 / SPIN | 
| "A man and woman onstage, with an ambiguous sexual tension between them. A riveting lead singer/multi-instrumentalist and a near-silent drummer. A signature look and musical roots in a bygone style." |
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| 03.2006 / Outburn Magazine | 
| "Yes, Virginia exposes The Dresden Dolls at their strongest and most infectious, making them difficult to pigeonhole and even more difficult to ignore." |
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| 12.2005 / Los Angeles Times | 
| "Palmer's furious ivory-tickling and Viglione's jazz and metal influenced drumming crackled with every bit of the musicality and ferocity of other celebrated two-pieces such as the Kills and the White Stripes." |
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| 10.2005 / Yellow Rat Bastard | 
| "While the most commonly used description is "punk cabaret," the term does not begin to explain how smoothly the different worlds of Kurt Weil and The Cure, to name just two, are blended seamlessly in their songs." |
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| 05.2005 / Rolling Stone | 
| "On the band's debut, dark, confessional songs like "Girl Anachronism" and "Gravity" are tempered by the sly humor of "The Jeep Song," in which Palmer expresses the emotional turmoiln she endures every time she spots someone driving a black jeep like her ex-boyfriend's." |
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| 05.2005 / The Boston Globe | 
| Boston punk-cabaret duo the Dresden Dolls are the current poster children for nonconformists hoping to make it in the big bad music business. |
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| 05.2005 / WomanRock | 
| "Listen for the rompy oomph pah pah oomph pah pah accompaniment from drummer Brian Viglione and latch on to Amanda Palmer's vocals as she twinkles piano keys, vibing a child nursery innocence that make the "picture of a girl getting bitter" more tragic." |
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| 04.2005 / Guardian | 
| "Listen for the rompy oomph pah pah oomph pah pah accompaniment from drummer Brian Viglione and latch on to Amanda Palmer's vocals as she twinkles piano keys, vibing a child nursery innocence that make the "picture of a girl getting bitter" more tragic." |
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| 04.2005 / Soundings | 
| "When people are ready to expand their listening radius and open their minds, they'll run into bands like the Dresden Dolls." |
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| 04.2005 / Chorus & Verse | 
| Never in my entire 23-year concert going history has a band captured my attention the way the Dresden Dolls did. |
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| 03.2005 / Billboard.com | 
| "At its core, the Dresden Dolls is a live band, performing in Weimar-era cabaret-inspired clothes, and allowing audience members to enact impromptu routines alongside the stage." |
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| 01.2005 / Under The Radar | 
| "The Dresden Dolls, who have described their music as "Brechtian punk cabaret," possess an alluring dynamic that extends beyond the flamboyant theatricality, sex appeal and intense musicianshipt of their stage show. The catalyst in this postmodern collision of provocation and pastiche is Palmer's deeply personal songwriting, which invokes a wide range of musical genres and tones." |
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| 01.2005 / Slug Magazine | 
| "Dresden Dolls, comprised of two of the best songwriters of this decade, take the boiling rage of red-hot romantic rejection and infuse it into the feel and structure of Broadway musical scores-- tons of emotional pauses, melodramatic crescendos, rip-roaring, full-throated cries where the whole orchestra oughta come in complete with Timpanis and Zildjan crashes and zillions of oboes... you get the jist-- complete with an image of naughty orphan mime waifs cavorting in an insane French burlesque." |
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