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Amanda Palmer (or Amanda F*cking Palmer as she sometimes calls herself) is a divisive individual. But an individual she certainly is.
She formed The Dresden Dolls with drummer Brian Viglione in 2000 and the duo gained a rabid cult following with their “Brechtian punk cabaret” music, to which I have never ever listened to this day, but I imagine to be equal parts musicianship and performance art. They went on hiatus in 2008 (though they have reunited several times since then) and Palmer formed another short-lived duo with Jason Webley, called Evelyn Evelyn, before embarking on an even more successful solo career.
In the spring of 2012, Amanda Palmer launched a Kickstarter campaign to fund the self-release of a forthcoming album she was working on with her new band, The Grand Theft Orchestra. Her goal of $100,000 was easily surpassed in a matter of hours, eventually reaching the lofty and record-breaking mark of nearly $1.2 million. It raised a lot of eyebrows and started to change the ideas of what it meant to be a musician and a fan/customer/art patron and the relationship betwixt the two in the digital age. Palmer definitely has her fans but she also has her detractors. And she didn’t do herself any favours in that regard when she asked for the whole helping arm and put the call out for volunteer musicians on each stop on her tour after raising so much coin on Kickstarter. She eventually backtracked on that when the internet was outraged but there it is.
I actually listened to most of the resulting album, “Theatre is evil”, without any of this context, well before reading about her in the news and becoming somewhat put off by some of her opinions and outspokenness and almost unreal persona. Truly, though, the album is quite a fantastic piece of work with a great many highlights. “Want it back” is track five out of fifteen and the second single to be released from it. Synth washes start the proceedings. Then come the driving piano staccatos and snappy drums and plucky guitars. Palmer’s vocals are breathlessly running from one line to the next, seamlessly snarling and yelling and barking and yelping and angelically crooning. It can be an exhausting listen but also a compelling one.
“Once when you’re gone, and I wanna do it backwards
Just like the song, we’re addicted to the L word
Up past your head, down your back
Around your ankles, ready for attack
And then you’re strangled”
The video is pretty neat too. Filmed like stop motion animation, the lyrics appear as she sings them, written all over the place, black ink from an ink well – splish, splash, splosh. The version below is the clean one. There’s an NSFW version out there for you to find as well. Because, of course there is.
For the rest of the Best tunes of 2012 list, click here.