It's a misnomer to call Claire Diterzi a mere singer—she's more like a method actor, conceptual artist and avant-garde musician rolled into one. Each of her records represents a blank canvas for some new multidisciplinary pursuit, whether it's a cowboy-movie soundtrack (2006's Requiem for Billy the Kid) or the electro-shocked accompaniment for a musical about Marxist revolutionary Rosa Luxemburg (2010's Rosa La Rouge). Tying all these threads together is Diterzi's charmingly eccentric songcraft, which infuses her high-concept experiments with an infectious sense of play.