Much like the ill-fated ALF from late-1980s era of sitcom television, Amanda Palmer is back – though, not in Pog form, most certainly not in pog-form. While many may know Amanda Palmer as the goth/punk cabaret queen of The Dresden Dolls, and a startling powerhouse of piano talent with her own solo record Who Killed Amanda Palmer, what listeners will see and hear this time around is another deeply, artistically-minded shape shifter that has produced another iteration of herself as she adapts yet again to the new, starkly interesting circumstances of her life. What listeners have with this relatively simple EP is not just a record of cover songs, but a collection of quality, beauty, talent, and skill that acts as the tip of a very large personal iceberg of history and spirit.
What is this EP? Well, sure, one might be inclined to take the superficial route and view it simply as a seven-song album of Radiohead covers performed by Palmer on ukulele. In this collection are her versions of “Fake Plastic Trees”, “High and Dry”, “No Surprises”, “Idioteque”, “Exit Music (For a Film)”, and two live versions of her trademark uke song, “Creep.” One would be selling themselves and Ms. Palmer’s work short if that’s where they left their understanding of this record. It’s a remarkable thing to behold her powerful piano skills, and her incorporation of the ukulele into her repertoire of talent and accomplishment. So, behold some context if you will…
Amanda Palmer’s former record label, Roadrunner Records, treated her solo effort Who Killed Amanda Plamer with the same indifference people often treat homeless individuals on the street. She was practically non-existent to them, as they gave her a pittance of attention, publicity, and touring options. As she dealt with frustration and resulting economic woes, she found herself in a music store in her hometown of Boston in pursuit of a silly little vision she felt like indulging. A friend of hers was performing a benefit show in town, and Palmer had a dream of performing Radiohead’s “Creep” on the ukulele as she stood atop the venue’s bar. She procured a twenty-dollar ukulele from a local music store, figured out a couple of chords on her way home, and looked up the rest online, practicing well into the night. She had it licked by the morning, and the result is what can be seen one of her most popular Youtube videos here.
It makes for quite a thing to behold. In fact, this writer has personally witnessed Palmer produce the same performance at Toronto’s Mod Club Theatre, atop their own bar (and in the crowd at The Rivoli). It makes for quite the wonderful and intimate performance, illustrating just how much Palmer is driven to establish a true and emotional connection with all those that seek her music out. And just to prove she’s got the chops to do this song justice, there’s another live recording that one should specifically check out here.
In the genesis of this song’s series of public performances, Palmer would eventually be released from her obligations to Roadrunner Records, which she would celebrate with a free song, available here (http://music.amandapalmer.net/album/do-you-swear ) entitled, “Do You Swear To Tell The Truth The Whole Truth And Nothing But The Truth So Help Your Black Ass” (a reference to an NWA song, for you sensitive types). But, this song wasn’t enough for her. With her new independence, Palmer wanted to do something to exercise her new freedoms, and so her vision for this Radiohead EP was born, because there was no one around to tell her she couldn’t it.
This EP is no swan song. With blind faith, Palmer has chosen not to follow that pessimistic bird, and has trudged through her career with the spirit of a phoenix, and rose from the ashes of a career poisoned by a mean-spirited record label, and has risen with a bursting sense of joy and happiness. She’s celebrating, embracing new-found freedom, and has invited fans to partake in that. This isn’t an EP to make money, it’s one to celebrate and recognize the new place in life in which she has found herself.
With a well-experienced voice, and attitude towards making the EP as stripped down as possible, Palmer has produced included a stark beauty to these covers. Although she has embraced a luau theme with the record’s design, the spirit of the material is such that one can sense their selection comes from a personal place within her. “Fake Plastic Trees”, “High and Dry”, “Exit Music (For a Film)” and “No Surprises” sound as if they’re love songs shared to someone close to her, in the middle of the night in a personal space somewhere. Her versions of “Creep” included here are proper aural samples of what she can accomplish in a live space. The crowning jewel however, the only more high-paced song, is the remarkably unique cover of “Idioteque”. Covers of which are remarkably difficult to reproduce due to the original’s electronically-minded composition. Here, she has made it just as dark and eerie, but in the true spirit of performing a cover, she has also made the song her own. You may never have even begun to conceive of a cover of “Idioteque” performed on a ukulele, but extend your trust on this one, because it most certainly works.
In the end, you must take Amanda Palmer Performs the Popular Hits of Radiohead on Her Magical Ukulele however you will. Perhaps as a simple and great collection of covers, as a testament of triumph and celebration, and/or as evidence to the sense of versatility of Amanda Palmer’s talent and her indomitable spirit. Whichever way you choose, understand that this EP was put together sans levity, and all heart.
For those interested, the album can be listened to online here, where it can also be purchased for immediate download.
(9.5/10)
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