“One must be careful of Jill Tracy. The pale and shadowy chanteuse quickly draws you in with her noirish compositions; her songs are eerie and enticing, clever and clawing, and replete with gothic glamour. The San Francisco-based New York émigré likes her fare dark and bloody, sprinkled with cabaret charm, old-time chamber chops and an almost overpowering sense of seductive gloom.”

“beautiful, striking work”

“If there is any justice in this life, the world will discover Jill Tracy.”

“one clever vamp”

“The vamp’s vamp!  All velvet purr and black key shivers, the Duchess of Cabaret Noir. Jill Tracy’s piano playing is magical, so sensitive and beautiful, it blows me away.”
DAVID J  (Bauhaus/Love and Rockets)

“Ironically, it seems like the grunting, hamfisted fury (and its oppostie, the teenybopper bubblegum) that rules MTV and the pop airwaves is driving more and more listeners toward a new, subterranean vision of sophistication. They’re learning what Jill Tracy has known all along–that depravity is most delicious when it’s dressed up, and a sharp, elegant dagger can be deadlier than a big dumb chainsaw.”

“Jill Tracy—I thank you for your deliriously sweet and evil musical beauty, your unique talent and independent strength in these, the days of not only the Dumbing Down Of America, but the profoundly redundant state of music in general.”

“Drop-dead original & dark as a drowning pool. The perfect garden for your Midnight of Good & Evil. I can almost feel the spanish moss oozing out of my speakers… I sometimes wonder if Jill Tracy is actually a ghost.”

“Very distinctive and exciting..Jill Tracy sings with the kind of breathy intimacy that will fulfill your dreams of being tortured by beautiful women.”

“With an affinity for darkness, but with melodic forms that express twisted romance, Jill Tracy evokes soundtracks by Bernard Hermann (the accomplice of Alfred Hitchcock) and songs that move with shivery cinematic suspense, amidst tales of lost grandeur. Works of languid beauty…Exquisite.”

“After her 90 minute concert ended, the applause and cheers were just becoming stronger. In the end, Jill Tracy has to return to the stage for several encores, in fact, exhausting the list she had prepared. Still the crowd wanted more. Then, something magical happened: Jill Tracy decided to compose something right in front of the audience utilizing their energy. She asked the audience to hold an object in their hand they had with them that exhibited emotional significance, and concentrate. There was a few seconds of silence after which Jill Tracy, accompanied by violinist Paul Mercer, played a magnificent improvisation to close the show. ‘That was DEFINITELY for you, ONLY for you.’ she exclaimed.”
BONS VICIUS (Portugal)

“Jill Tracy adds cultivated grace to the sounds of decadence.”

“Jill Tracy does not seem to compose music. Rather, she is simply echoing through her voice and piano the music she hears in her head… Jill Tracy’s future is promising, no doubt due to accomplished performing ability and a vast, active imagination. Her public need not discover a stray nine of hearts to recognize an unmistakable magical quality about Ms. Tracy that completely defies explanation. One question that lingers, though, is whether Tracy is the player, the dealer, or both in this game of cosmic poker she plays. But let this question remain unanswered: the mystery of Tracy’s inspiration is her magic. Those who listen will be enchanted.”

“Jill Tracy draws you breathless and lustfully into her dark and sinister world; and it’s a world unlike any other, for despite all the comparisons I could make (Edward Gorey & The Tiger Lillies, Tim Burton, Nick Cave writing true murder ballads for Nico), she is nonetheless quite unique. Her music is incredibly filmic in quality…But that’s one of the beautiful things with this album; it’s not just the music, not just the lyrics, not even just the mood & scene it sets, but the whole gorey picture it sets which gives a much fuller appreciation of how Jill views our world. For despite all its old world pretentions, inspirations from the past, the vision is very much one of now. Diabolically wonderful.” GLAMOURAMA (UK)

“Madame Tracy is one classy dame. Cool as a cucumber. Who else do I know who could maintain such an unflappable air of poise and elegance as reanimated hearts, levitating chairs, creepy humanoid automata, and even the arse of Satan himself loom directly behind her? No one! I’ve been swooning over the Victorian parlor pianist/netherworld chanteuse ever since a video for her seminal song “The Fine Art of Poisoning” was released a few years back, but she’s been casting her Ghostly Gloom Glam Queen spell for well over a decade (since long before this latest incarnation of the “dark cabaret” movement picked up speed), always with unparalleled grace and sincerity. Highly recommended. “ COILHOUSE

“A siren of the dark side…combining the intellectual eroticism of Baudelaire, and the cheerful ghoulishness of illustrator Ed Gorey, Jill Tracy spins intoxicating tales of mayhem. Plus, there’s—that VOICE!”

“Like a film noir femme fatale, Jill Tracy is gorgeous; ballerina thin and Victorian porcelain pale…..a stunningly hypnotic performer.”

“There are only so many albums that come hurtling at you like a freight train and completely knock the breath out of you. Diabolical Streak is one of those albums… absolutely brilliant…It’s seductive, it’s creepy, and at the end you’ll wish you had someone to lure into your own trap, because Jill Tracy makes it sound so perfect.”

“Stephen King once referred to Shirley Jackson as “the woman who never needed to raise her voice.” And this perfectly describes Jill Tracy as well. Through haunting cabaret-style songs with clever and spooky lyrics, Diabolical Streak puts a chill down your spine that the most obscene words and heaviest amounts of gore can never achieve. Jill Tracy’s soft and seductive voice is a dark and wonderful gem. I’m quite convinced that if Jackson were alive today, this would be her favorite album!”

“eerie, sophisticated and cinematic, Jill Tracy is a gorgeous siren whose voice is filled with menace and mystery.”

“Jill Tracy has created a timeless collection of songs that ushers the listener into a dark and magical realm. It’s not safe here, but you won’t be in any hurry to leave. This is strangely alluring and subtly disturbing music that sneaks up on you, captures you with its unique style and mordant wit, and never quite turns you loose. Jill Tracy finds a compelling sensuality in everything, from the promise of one wicked night to the fiery end of the world. Beneath the breathy vocals and the force and filigree of Tracy’s original piano lines lurks cold steel — the woman has guts to spare, creating something so distinctive amidst the corporate musical mediocrity that’s poisoning the culture. Jill Tracy is a wonderful antidote to that poison. Play this one late at night. See if you can find your way out alive.”

“Like latter-day Marianne Faithfull and Marlene Dietrich, Jill Tracy knows her ouevre and her audience- it would appear she lives the life of which she sings and isn’t just playing dress up (her wan visage would fit nicely onto one of Tim Burton’s storyboards). Though it’s been suggested she hints at everything from Eric Satie to the Cure, with her dark parlour piano and a voice that slays as soon as it soothes, Tracy doesn’t really sound like anyone but herself- though she might just be who Marilyn Manson turns into when he grows up.”

“San Francisco’s First Lady of Melancholia.”

“Few things are finer than drowning in anticipation for a new album—having that album arrive and, most importantly, having that album more than satisfy said anticipation. The Bittersweet Constrain is wonderfully dark, mischievous and mesmerizing… twilight tales of spurned love, untimely ends and thoughts lost in the shadows, slowly creeping unseen and meaning to not merely embrace, but drag us down into those oh-so-wrong exalted states. What a bloody good record.”

“More noir than cabaret, Jill Tracy’s The Bittersweet Constrain is a mesmerizing example of a musical endeavor that lives and breathes its own atmosphere.  Like a trip down the back alleys of a metropolis in decline, you never know where the album is taking you; like an audio flaneur, you may find yourself strolling by the scene of a crime (“Room 19”), finding decadent delight in Faustian bargains (“Sell My Soul”), or becoming obsessed with fatal longing (“In Between Shades”).  By turns seductive, dangerous, and knowing, Tracy’s voice is pure chanteuse, irresistible even in the face of the beckoning downward spiral.  Colored lightly in the hues of torch song and morbid nightclub songbird, the album takes its time to unfold, lulling you with waves of dissolute dreams as it subtly pulls you under the tide.  Backed by her own tenebrous piano and a host of musicians dubbed The Malcontent Orchestra, The Bittersweet Constrain is a very dark album that avoids unnecessary bleakness.  Though the record contains paeans to the barbarity of torture devices and other metaphoric references to the torments of love and lust, the raw emotional hunger of Tracy’s voice indicates that the agony of “the bittersweet constrain” is, inevitably, all we have.  A downbeat ending fit for the rain-drenched, black-and-white conclusion of a noir thriller to be sure, but with music as compelling as this, it is a proposition difficult to argue against.”

“Since the first time Jill Tracy’s seductively smoky voice sent such a delicious shiver down my spine, she has been with me, in the deepest pain I have ever felt, and the greatest joy. What she creates has something sacred inside of it, a gift that so few others have to offer. In her music, in the words she sings, you will find what you need to make you whole. Somehow, she is every perfect book I have read, everything I wanted to portray in each word I have written. Jill Tracy, for me, ventures far beyond everything I think I could be. Long before I ever met her, I could create so many beautiful worlds that made sense, when nothing else did. In each tragedy that I didn’t think I could make it out of, she was there. In each small triumph, I found something different in the same song. Somehow, it just makes sense.”

“Jill Tracy is menacing yet bewitching, sexy yet eerie, creepy yet gorgeous, dangerous yet poetic.I’m enchanted with the amusing and fantastic nature of her work. It’s like going into a really fun haunted house at the carnival and coming out with a World Series case of the goose bumps.”

“…positively poetic…Jill Tracy has made an exquisite, even luscious record with Diabolical Streak…she wraps you with a smoky coo and as you soften under that sophisticated smirk you realize too late she’s tied you to the third rail while the cobwebs descend and the seas fill with blood.”

“That Jill Tracy. She’s singing about suicides—and I’m still turned on!”

“Pianist-singer-composer Jill Tracy, oft-called “the femme fatale for the thinking man,” begins the night by crooning one of her trademark dark ditties . “I’ll keep my hand on your trigger finger/I’ll hold you close while they dust for prints …” She is dressed to kill in long black gloves, a black sequined flapper hat—one spit-curl escaping just so—and a black bustier. Men in the audience seem ready to die, gladly.”

“Jill Tracy is unique—a soul out of its time; intriguing, intelligent, sensual, and just diabolical enough to make you wonder? she enchants and tempts with a delicious sense of danger? Whatever I say, doesn’t even come close to describing this CD (Diabolical Streak)  and its creator properly- it is THAT GOOD ? It’s unfathomable to me that some major label hasn’t picked her up yet and kissed her feet… or why a big film maker like David Lynch hasn’t contracted her to do film scores.”

“elegant, eerie…deliciously macabre.”

“Jill Tracy purrs in a voice that is like the inhalation of clove cigarettes.”

“Jill Tracy has a finesse and poise rarely seen in live music performances…her lyrics, concise and meticulous, tell each song’s story with a strength and focus many strive for and few achieve when practicing the craft of songwriting. Mature and haunting, tracks on Diabolical Streak roll out like currents in an undertow, dragging the listener further and further out to sea.”

“You could get drawn in (or drawn and quartered) by Jill Tracy and her Malcontent Orchestra..her elegant voice is a sultry moan, a breathy purr, a throaty siren’s call. Tracy has a spine-tingling signature sound that’s distinct and consistent without becoming monotonous, novel without becoming merely a novelty. She also does a mean version of “Paint it Black.”

“The best surprises are the ones that come completely out of nowhere. Here comes this chanteuse…, her hands deftly pouring over her piano and boom- we have brilliance. Jill Tracy commands your attention, her voice just dribbles down your back- to places you can’t even scratch…”

“Breathy, teasing, eerie, erotic, hauntingly sultry, notoriously seductive…Jill Tracy brings to mind visions of absinthe-soaked cabarets, dreamy opium dens and the opulence of times gone by…….Yummy!”

“With her smoky croon, dark lyrics and singular performance style that drifts between ragtime and classical, Jill Tracy is gaining a reputation for her exquisitely dramatic performances.”

“…a unique brand of dark idiosyncratic pop cabaret….. Jill Tracy is fey and sexy.”

“Lyrically, Jill Tracy’s work is every bit as naughty as the brainless, bombastic transgressions of the likes of Marilyn Manson and Limp Bizkit. But with her refined elegance and roots in jazz, film noir supper clubs and turn of the century circus sideshows, Tracy exemplifies a far more cosmopolitan approach to sin. Instead of raw angst, her music is full of smoldering cultivated grace, piquant with the hint of a sly smile. Her voice is alternately sweet and raspy, coyly curling around her macabre lyrics like wisps of smoke from the end of a long cigarette.”

“If Andy Warhol were with us today, he’d be a big Jill Tracy fan. If you haven’t tripped through the stylish side of the underground, Jill Tracy is a self-styled singer/songwriter/pianist who is truly alternative—and without the help of distortion drenched guitars. Her music is dark yet uplifting, avant-garde yet traditional, and mesmerizing yet personable. Although mostly self-taught, Tracy employs virtuoso movements and a well-crafted technique. She demonstrates a genius in her piano playing that challenges conventional definitions of pop music, and there is a transcendent emotion in both her singing and playing.”

“The music of Jill Tracy is something wholly unique, alluring, and as others have said before me, otherworldly. It is not some bland tune slapped together in order to stay in step with the latest musical fad, it is not lyrics that have been packaged to appeal to the most possible paying customers at the cost of their original integrity, but most importantly, it is not like anything you have ever heard before. It’s absolute bliss. There may be plenty of other cabaret singers out there today, and many of them might have real talent and soul, but not a single one of them will ever be Jill Tracy.”
B. SHELBY, review

“One of San Francisco’s best lady crooners, and Queen of taking her listeners into another realm.”
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