'No, Virginia' by The Dresden Dolls

Today saw the release of 'No, Virginia', the new album from The Dresden Dolls so, as soon as I could manage this afternoon after work, I scarpered up to HMV on Oxford Street with my pocket money to buy a slice of heaven. I grabbed one off the new release display near the doors and then found more in the 'HMV recommends' shelves further inside. It's not being heavily promoted in the store but at least it's available in two places as well as in the 'D' shelves. That's a good thing.

The packaging is, as you'd expect from the Dolls, excellent. It's a gatefold digi-pack with lush photos of both Dolls inside in lace frocks and much attitude. There's a marvellous photo on the back of Amanda in Brian's arms after a gig - you can't see their faces but it's them hugging and is a lovely expression of their love for each other. I love that photo. The CD itself has a photo of Amanda's arm with the words 'I was young I needed the money' written along it and, when you take the CD out of the tray underneath is the bold statement 'I Love You' with stick drawings of Brian with a melting ice-cream and Amanda holding out her heart with blood dripping into a puddle. Further artwork, lyrics and photos will be available on a new part of the Dolls website when it's launched, presumably tomorrow to coincide with the American release.

And the record? Well, there are 11 tracks lasting 48 minutes and they're a mixture of old and new. A couple of the tracks have been available for a while in studio versions, others have only been available as live recordings on various sites and another few are new tracks recorded for this album. All were produced or co-produced by Sean Slade, an interesting surname, I'm sure you'll agree. The blurb on the back states, "A collection of unheard treasures from the Vault of The Punk Cabaret taken from the 'Yes Virginia' Sessions and featuring new songs from the Winter '08 Sessions". And treasures they are.

I've only heard the record once so far so I really need to hear it on loop on my iPod for the rest of the week to do it full justice, but, so far, I love it. An excellent selection of songs, intriguing lyrics, Amanda plonking away on keyboards and Brian doing his thumpy-thump thing, between them creating a full and atmospheric sound. The punk cabaret is growing up but it's still there with its tongue firmly in its cheek and a glint in its eye.

Dear Jenny is a brand new song with the marvellous opening line of, 'Boys wear overcoats in the heat like this to keep themselves from showing..' - when was the last time you heard a song opening with a rationale for wearing a coat? And a chorus telling us that, 'Rates are better in the summer...'. A great Dolls song!

Night Reconnaisance is excellent, a potential single and already has its own video (posted last week so click here and take a look and a listen).

The Mouse And The Model is six minutes of glory for Brian going well overboard with his delicate and wild thumpy stuff proving (if it's needed) what a great drummer he is.

Ultima Esperanza is a tour de force for piano and drums and even includes a mellotron (played by Mr Slade), a wild aural romp.

The Gardener is a strange song, menacing with the threat of 'we will plant brambles in your bed' and you just know that Amanda doesn't mean the springy, comfortable thing you lie on at night. It's very atmospheric and spare, showing what good musicians they both are, creating moods and terror with a gentle tap on the keyboard or drum. It ends with the refrain, 'The Gardener's coming to collect...'.

Lonesome Organist Rapes Page Turner is one of my long-term favourites, the 'B' side to 'Sing' from 'Yes, Virginia'. Manic piano playing and worrying lyrics. Halfway through the song Amanda cries out, "Maybe I'll find out why this damn thing won't stop bleeding..." and I've never quite got what that is about.

Sorry Bunch is a mid tempo song with the refrain of 'Just so long as you are on my side...' and reminds me slightly of 'The Jeep Song' from the first studio album. It's not really like it at all but there are echoes of it. Maybe it's the most 'rock standard' of the songs on the album?

Pretty In Pink, yes, the Psychedelic Furs classic from the film. It's a great version of the song and I love Amanda's world-weary tone throughout the song.

The Kill opens with the wonderful words from 'Anarchy in the UK', 'I am an anarchist, an antichrist' and goes on to talk about being a 'rocket-ship' and other things. Amanda then sings that she is a 'plagiarist' and an 'optimist' and host of things. I suspect that Amanda is really saying that we're all wierdos...

The Sheep Song is a slow 'un and I'm not sure what its about except counting sheep? It's obviously very deep.

Boston is a trademarked Amanda song, whispering one minute, shouting the next, but with some interesting piano twiddles and seduction lyrics, keeping score for who you've had sex with. "Come back to bed my darling" Amanda croons, "But now we're here in Boston...". And Boston is where Amanda and Brian are from, of course.

I'm very pleased with my small slice of heaven. They make so much noise for a duo that the noise-demons must have them on the payroll. Go out and buy it and make it a great big hit record.