The new Dresden Dolls B-sides record, No, Virginia is a complex and not all together inviting beast. It’s first track, “Dear Jenny” starts in the middle of a thought and blasts forward with obscene intensity without giving the listener a moment to catch up. For the uninitiated, the bizarre right turns of a refrain discussing prices of goods during the summer in a song that is, seemingly, about a mental institution might be off putting. But, in the context of the Dresden Dolls catalogue, the concept and the song fit in perfectly.

This is not to say that one has to do research to enjoy this piece of pop-music anarchy, but it’s not exactly the best place to start for new listeners.

The album, made up of 5 new songs, 1 old demo, 3 unreleased tracks, a bonus song from the Japanese release of their last record, and a Psychedelic Furs cover, is full of in-joke glee and fanboy enthusiasm. The title, a reference to their last studio record, Yes, Virginia, which, in turn was a reference to a famous newspaper article affirming the existence of Santa Claus, seems assaultive and contradictory, a mood that is perfectly in keeping with the band’s stance as “Brechtian Punk,” a pseudo-genre that holds no other bands under its umbrella.

The music itself is good, if uneven. Some tracks, like “Night Reconnaissance” explode with an adolescent zest for life outside the box, even if the biggest rebellion possible is stealing lawn gnomes after curfew. Meanwhile, other tracks like, “Gardener” which flirts with a Pixies-esque bass line, drag on for far too long.

The album’s biggest problem is that, being a collection of odds and ends makes it hard to create any type of pacing. While it is interesting to hear the reemergence of the music box sound that blanketed most the band’s first record, the fact that it only appears on “Sheep Song” makes it stick out like a sore thumb. Too, the extra instruments on, “Mouse and the Model” are jarring when placed up against the rest of the stripped down piano and drums material. Too, the dark double entendres carrying deeper emotional impact that has long been a staple of front woman Amanda Palmer’s style is largely absent here. Consequently, the lyrics don’t seem as vital and the ballads drag in ways that “Delilah” and “The Perfect Fit” never did. About 6 of the songs on this record really bounce during the first listen; the others just sort of lay there, inert or half functioning.

But, the tracks that do work, work magically. While there is nothing matching the cathartic bliss of Yes, Virginia’s closing track, Sing, several of these cuts hit home in a deeply affecting way. “The Kill*” builds as a moving off key ode to not fitting in, and not needing to, while “Lonesome Organist Rapes Page Turner” might well be one of most fun perversions that the band has ever laid out. In addition, the aforementioned, “Night Reconnaissance,” and “Dear Jenny” as well as, “Pretty in Pink” and “Ultima Esperanza” are worth a look.

While it is a must-buy for the hardcore who have been waiting to own a studio version of some of these tracks for half a decade, No, Virginia simply isn’t up to the high standard of The Dresden Dolls first 3 records and probably won’t work for new or casual fans. However, all of their best tracks are live performances and a live recording of tracks like “Boston” or “Sorry Bunch” might well make for a much more engaging experience. Luckily, since the band encourages bootlegging of live shows, we shouldn’t have to wait too long before we see that.

Watch their video for “Night Reconnaissance” here and hear their last 2 records streaming here. No Virginia is in stores now. Check the band’s website for tour dates.

*The live version, available here is superior. Even better is the 2004/10/30 rendition, which you can easily find on sharing sites, all with the express permission of the band.