Antje Duvekot
The Near Demise of the High Wire Dancer
(Black Wolf)

The Near Demise of the High Wire Dancer is one of the best records of 2009. It is moody, introspective, dark, exquisitely crafted and brilliantly produced by Richard Shindell. Duvekot plays the tightrope walker on a life's thin wire and wears danger like a wispy carnival gown. When she describes a relationship as having "no safety net when I fall right out of the sky," it's how she sees life in general. "Long Way" is a double-edged song whose geographical journey is mere backdrop for an amble into the emotional unknown. Poetic writing and atmospheric arrangements enhance the tension in songs that blur the line between hopefulness and helpless illusion. With vocals that are a mash of Patty Griffin's tones and Kate Rusby's gentleness, Duvekot crosses the wire. Take a bow, Antje. Antje Duvekot appears at the Iron Horse on Oct. 22.   —Rob Weir

Mumiy Troll
Comrade Ambassador
(Universal)

An odd combination of slick, wet rock, disco and Euro-ska, Mumiy Troll delivers what could've been a 1977 David Bowie record, if he'd employed Joe Strummer and sung duets with Serge Gainsbourg. It's funny how much not understanding the lyrics can force a listener to pay attention to the instrumental parts (the vocals are all in Russian, though English lyrics are printed in the liner notes). The guitar player has great minimalist licks reminiscent of Ricky Wilson, John Frusciante or even D. Boone, and everything is processed with a mid-to-late '70s sound by a producer/engineer who calls himself Ethan Allen. Wonderful use is made of mixing phasers with stereo panning, and best of all, a steady groove is never abandoned. Weird but good; catch these guys with local faves World's Greatest Dad at Pearl Street on Oct. 6 at 8:30 p.m.   —Tom Sturm

Ameri-mf-cana
Ameri-mf-cana
(Cranus)

Though it was released over a year ago, because it draws strength from folk, blues and jazz traditions it's unlikely Ameri-mf-cana's not-so-new album will ever sound dated. Like the performers, the recording's warmth and good humor make their original tunes, and those penned by the likes of Duke Ellington, Tom Waits and Leadbelly, feel as if they've been cut from the same cloth. Their deep, soulful voices and effortlessly bluesy guitar playing complement each other beautifully, and despite the often-grim song subjects (dead friends and abandoned lovers), the album is heaps of fun. Vadas writes on the duo's website that he hopes the album will "be received much as the multi-faceted folk revival of the early '60s was received," and even if it hasn't started a new movement, it's not for the lack of moving tunes, such as "Black-eyed Susan," and Burkhart's original, "I Want a Rock."  —Mark Roessler