Alacartoona plays what it calls "modern cabaret" music. Inspired by the cabaret culture that flourished in Berlin and Paris during the early 20th century, the experience is, according to the band, "one part musical theater and three parts theatrical music, with a generous helping of titillation on the side."
But, while the past contributes to the band's overall aesthetic, the music is firmly rooted in
the here-and-now.
To celebrate this carpe diem philosophy, the group's four members-Ruby Falls (vocals, guitar), Providence Forge (bass, vocals), Archibald Drexel (accordion), and Bachelor Calwood (percussion) -collectively tell stories of love, heartache, sin and gin.
During live performances, Ms. Falls and Mr. Forge take this idea directly to the audience, frequently descending from the stage to sit on a lap, stroke a cheek, and of course, accept a free drink or two.
Their vocals flow straight from the gut, adroitly capturing the grittiness of the songs but never surrendering a subtle, classical artistry. The result is something like finding a lost Caravaggio hanging on the tar-stained walls of dingy Berlin café.
These characters shine not only because of the indefatigable energy of their creators, but also because they spring to life against a background of impeccable musicianship. Drexel's accordion stands out as the group's melodic heart, while Calwood's percussion provides an unshakeable scaffolding that permits the others to improvise freely without chaos ensuing.
Songs from the Show, the band's first LP, was released in early 2005 to nearly universal praise. As the title suggests, its bawdier cuts, such as "Tickle & Fluff" and "Every Saint Needs a Sinner," strive to capture the vibrant spontaneity of the group's live performances. At same time, tracks like "Seems For Days," with its haunting juxtaposition of Falls' lullaby voice and Calwood's militaristic drum rolls, demonstrate a musical complexity that may be lost in a rowdier setting.
Overall, Alacartoona's style is difficult to pigeonhole, which is a major source of their appeal. From one song to the next, they may invoke the familiarity of your favorite show tunes, then morph into a sultry jazz ensemble, before finishing with a rollicking, beer-sloshing anthem to the night.
Despite the band's protean incarnations, though, one element never changes. Every song contains a clarion call to live for today without worrying about tomorrow.
As the final refrain on their first album says, "Let's all pretend we're happy / Let's raise our voices high / Yes, it's all some tragic comedy / Let's drink our lives goodbye!"
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