CD of The Week

Amanda Palmer has received plenty of press and headlines for her Kickstarter project this year, raising $1.2 million from fans for pre-orders and various packages surrounding her newest solo album. For now let’s put aside any discussion about “what it means” for the future of the music industry, because Theatre Is Evil has arrived at last and it’s time to focus on the music itself. Stretching herself sonically further than ever, the sometimes Dresden Doll has made her finest record, which is a strong candidate for album of the year.

Bashing down the door with the theatrical opener “Smile (Pictures Or It Didn’t Happen),” Palmer introduces her new backing band, The Grand Theft Orchestra and an even bigger, widescreen sound. You’ve heard the incredibly catchy lead single “Do It With A Rockstar,” where she winkingly takes on the myth of what can happen backstage at a concert. “Grown Man Cry” is lyrically emotional and complex while also an incredible homage to the ‘80s synth-goth sound, inspired by Depeche Modeand Tears For Fears, right down to the effects on Palmer’s voice. Two songs on Theatre Is Evil were inspired by the death of animals: “The Killing Type” and “Trout Heart Replica,” and both coincidentally have titles referencing other artists (Echo & The Bunnymen and Captain Beefheart, respectively). “Want It Back” may be the poppiest tune Palmer has ever written while the chugging “Lost” is the most Dresden Dolls-like track on the album, with its start-stop rhythm. Then there’s the heartbreaking “Bed Song,” perhaps the best and saddest song of Palmer’s career, as she tells the tale of an emotionally distant couple’s life together over six minutes of mournful piano.

I haven’t even mentioned the jaunty “Massachusetts Avenue,” where Palmer recounts a stretch of her hometown Boston or the zippy “Melody Dean,” which is chock-full of fast-paced syllables and wordplay worthy of Hot Hot Heat’s Steve Bays. Meanwhile, album closer “Olly Olly Oxen Free” is probably the only song in history to reference Robin Williams’ 1984 movie Moscow On The Hudson. For me, the mark of a great album is one where every song is truly distinct and memorable on its own and the thrilling, theatrical Theatre Is Evil passes that test with flying colors.