It’s fitting you might have caught a glimpse of Alexis Marceaux on Treme, HBO’s pantheon to New Orleans musicians. The soulful young artist is a lifelong New Orleanian, with credentials that best that of the cast. Her father is a local musician, and Alexis not only grew up surrounded by artists via rehearsals and sessions in the house; she also attended New Orleans Center for the Creative Arts (alumni include Harry Connick Jr. and Wynton Marsalis), and sang in the St Bernard Parish Choir. Now, the 22-year old has released her second album, Orange Moon. Under the tutelage of Polyphonic Spree’s Rick Nelson and producer Sam Craft, Alexis drew an all-star cast, 25 of NOLA’s finest musicians of every genre, for an album that is big and lush — yet finessed with restraint and space.

This is the second album for Alexis, who also keeps a spot as a touring musician and vocalist with Susan Cowsill, playing guitar, piano and harmonica, and is part of the local indie-rock band Glasgow. She released Dandelion in ’09, and its songs were picked up by various television shows (MTV’s The Real World, E!’s Keeping Up With the Kardashians, etc.), but with Orange Moon, she’s elevated from a singer/songwriter — to an artist that pulls more wholly from her city and life experiences.  “I was really green, I had just started writing songs at age 13, and recorded the first album at the age of 18. The material was very song-writerly and folky, before I began to turn to metaphor,” says Alexis. “With that, the instrumentation naturally progressed and got more a bit more complicated.” She makes that clear with the cinematic title track, a testimony to her friend Leila Foret’s battle with cancer. Alexis’ magnanimous vocal instrument matches a powerful brass section featuring Bonerama’s Craig Klein, Big Sam’s Funky Nation’s Sam Williams, and a host of other New Orleans horns, making it one part jazz, one part funk and indie rock. The brooding storm of disquiet that the combined textures create, parallel not only Leila’s fight to overcome her illness, but also the battle New Orleans waged to recover from the perils of Katrina.

Alexis’ family had long been ensconced in St Bernard Parish and lost everything in the floodwaters, sending Alexis further afield to SLU for vocal studies. Not long after she came back, St. Bernard’s and many other parishes’ prolific fisheries were crippled as oil from the 2010 spill washed ashore. The tale in “Wishing Well” is told from that heartbreaking perspective, but from the point of view of Louisiana’s state bird, the Pelican. “I just want to spread my wings and sing like a songbird sings, but suddenly I’m overcome with fear,” the Cajun descendant sings before caustically biting into, “Those suckers will be lucky if I ever come back.” The song’s message is translated into an indie-rock song, only slightly disguising its Cajun undertone complete with frottoir (Cajun washboard) by Russ Broussard (Terrance Simien, Zachery Richard and basically every major Cajun/Zydeco band of the 80′s/90s).  The last 60 seconds or so of the song features an anthemic chorus made up of a sizable chunk of the New Orleans music establishment (including Paul Sanchez, Susan Cowsill, and about a dozen others), banded together like an angered and militant crowd.

On “Fox,” a song that would fit snugly into a Decemberists album, she sings of the dangers of making hasty generalizations in an Aesop-meets-Orwell parable of clandestine love with a poppy guitar and whistles before swirling into a frenzy. “Brains,” featured in Starbucks stores now, an orchestral backing with pop-flavored hand claps lighten up the searching lyrics.  A live video of the track was also featured on My Old Kentucky Blog.

Accolades in tow, Alexis and the band plan to spend the coming months touring the US and, soon enough, Europe and beyond.

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