"A stealth contender for one of 2015’s best albums."
- NY Music Daily
“The things that make a great band have not changed, and [Orphan Jane] ticks off all the boxes.”
– Jonathan Shaefer, WNYC
“More attitude than a lion tamer’s pork pie hat.”
– Folkcast UK
“The musicianship on this recording is meticulous.”
– Modern Folk
“Wow, let me catch my breath here, that was really wonderful.”
– Bob Power (Producer)
– NY Music Daily
New York Music Daily Jan. 09 '13
A Deliciously Creepy Free Download from Orphan Jane
Orphan Jane have what they call “demos” of their upcoming album available as a free download at their Soundcloud page. These “demos” are sonically superior to what most other bands release as a final album. And this circus rock band’s songs are creepy! Their sound is rustic noir cabaret with jaunty but sinister vaudevillian overtones, and theatrics that can be silly one moment and disquieting the next.
They mine the inner desperation in Alabama Song for all it’s worth with Bob Desjardin’s pulsing bass, Tim Cluff’s swirly accordion, Dave Zydalis’ biting, skronk-tinged guitar and Jess Underwood’s dramatic, stagy vocals: by the end, she’s gone from whiskey bars to pretty boys to simply scrounging for cash. Likewise, they take Dylan’s You Ain’t Going Nowhere and max out the surrealism: Underwood sells the absurdist intrigue of lines like “Buy me a flute and a gun that shoots, tailgates and substitutes, drop yourself at a tree with roots” as perfectly natural.
But the originals here are the best. Lost Mind, a menacing minor-key tune, builds from a sarcastically whiny, Broadwayesque verse to an explosive choir of voices on the chorus – it reminds a bit of Brooklyn circus rockers Not Waving But Drowning. Mansion Song is 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. Underwood sings the sad, pretty waltz Still Life with a bitterly nostalgic edge: it ramps up the klezmer influence even more than the previous tune.
The most vaudevillian number is 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 indignantly strutting murder ballad that ends the playlist is the only song here that sounds more like a demo than a finished take, but it’s still an entertaining story, and it’s reason to look forward to hearing the genuine article when it’s a wrap.