Orphan Jane Bring Their Creepy Circus Rock Theatrics to Arlene’s
Creepy, theatrical circus rock band Orphan Jane put up some rough mixes at their Soundcloud page last year. This blog reported at the time that they sounded better in an unfinished state than most bands’ final mixes. In the time since, the band mastered and released those songs and a few others on their debut album, A Poke in the Eye, streaming at Bandcamp. They’ve also got an early gig this coming March 24 at 7:30 PM at Arlene’s; cover is $8. Generic dadrock singer Victor V. Gurbo recycles familiar Waits, Dylan and soul tropes afterward.
The album’s opening track is Whiskey and a Lie, a surreallistically rustic number that sounds like the Pogues covering a Brecht-Weill take on a sea chantey. Lost Mind is a menacing Weimar blues, frontwoman Jessica Underwood’s brassy cabaret delivery colliding with an eerie choir on the chorus over guitarist Dave Zydalis’ icepick accents and accordionist Tim Cluff’s minor-key swells. Last year, this blog described The Mansion Song as “a vividly scampering Roaring 20s noir cabaret song with uneasy Hawaiian-tinged steel guitar and a strange tale of wrongdoing and karmic payback among the idle classes.”
Still Life is a sad, bitter, klezmer-tinged waltz, bassist Robert Desjardins teaming with Cluff for a dark undercurrent as uneasy high vocal harmonies drift sepulchrally overhead. This blog previously called the album’s most vaudevillian number, Hole in the Head, “a bizarre duet between Underwood and Zydalis: he seems to be a quack doctor, she likes a smoke and a pill and some wine as a chaser, you think you can guess the rest but you really can’t.” The last of the tracks from last year’s Soundcloud page, simply titled “Murder!” welds skronky guitar and Underwood’s spot-on impersonation of a theremin to an indignantly strutting noir cabaret tune.
Underwood sings the murderously bouncy Losing Touch, the tale of a stage mom and her daughter with an evil agenda. The nocturnally waltzing final track, Night with a Stranger is a funny cautionary tale: be careful who you take home from the bar in the wee hours. There’s also a deadpan cover of Dylan’s surrealist stoner country tune You Ain’t Going Nowhere. There are scores of theatre kids who’ll hire an accordionist to play their campy cloak-and-dagger narratives, but Orphan Jane really get this style of music. Much as it’s a lot of fun, they always leave you guessing whether maybe they might actually be up to no good. A stealth contender for one of 2015’s best albums.