High Times in the Dark

High Times in the Dark opens with an ornate piano run from chief Claudette Johnny Iguana, a flourish that brings to mind Steve Nieves work with the Attractions, particularly on Elvis Costellos Trust. Its a dramatic progression from the gleefully grimy blues-and-boogie that characterized earlier albums by the Claudettes, a bit of flair that brings the groups self-definition of garage cabaret into sharp relief, and thats even before vocalist Berit Ulseth has sung her first note. The rest of that song, Bad Babe, Losin Touch, proceeds with a stylish, deliberate swagger that sets the tone for the carnival that follows. High Times in the Dark is filled with clever, soulful rock & roll thats rooted in blues, jazz, and R&B but veers toward classic pop: music thats designed to be played in the heart of the night but is snappy and catchy enough to shine brightly during the day. Working with producer Ted Hutt, the Claudettes have sharpened their aesthetic and Johnny Iguana (aka Brian Berkowitz) has tightened his writing, a refinement that helps Ulseth command attention with her lithe vocals. She plays with her phrasing like a jazz singer but keeps her focus on the stories of the songs, sounding as convincing on the MeToo takedown Declined as she does on the sly rocker Grandkids, Wave Bye-Bye. It all adds up to a vibrant listening experience, one that feels fresh even as it flirts with the past. ~ Stephen Thomas Erlewine