The album, produced by Sean Slade and Paul Q. Kolderie (Radiohead, The Pixies, Hole, etc.) satisfies all the tall promises the critics have hurled at this band since they first started writing about them in 2002. "Provocative would be an understatement, carnal is more like it" said the Boston Globe, while The New York Times wrote: "Sometimes brutal, sometimes comic, always riveting."

Yes, Virginia is a forceful, unapologetic sophomore effort that takes up where their debut left off and soars past it. The Los Angeles Times said about the band and Yes, Virginia that “they have successfully fought their way out of the punk-cabaret straitjacket.”

The songs deliver unembellished portraits of a life that is stripped of illusion. From the opening keys of "Sex Changes," to the closing track (and lead single) “Sing,” the sound of The Dresden Dolls, Amanda Palmer’s voice and piano with Brian Viglione’s drums and guitar, are unmistakable and searing. Their songs descend like life-giving bombs, as she sings with grace and urgency, like her life depends on it.

The addition of an almost 30-page booklet that accompanies the new record teems with original song-inspired art, photography and painting collaboration between The Dolls and their fans, including visual artists from across the globe. The decadent result solidifies the band's commitment to creating a truly interactive band-artist coalition. This also manifests itself in the so-called "Brigade," the growing collective of performance artists who join The Dolls at almost every city of the world they tour, bedecking the venues with living and static installations ranging from burlesque trapeze acts hanging from the rafters to Dadaist bathroom art.