Fishtank Ensemble boast that they’re the “leading American gypsy band.” Their third album, Woman in Sin goes a long way to back up that claim: they just might be right. Energetically speaking, they raise the bar for pretty much everybody else. Frontwoman Ursula Knudson’s dramatic four-octave voice soars to the stratosphere along with Fabrice Martinez’ violin over Doug Smolens’ fleet, nimble acoustic guitar and Djordje Stijepovic’s incisive bass, frequently augmented by accordion or Knudson’s singing saw. Their previous album Samurai Over Serbia mixed Asian melodies into a wide range of gypsy and Eastern European styles; the melodies on this one run from Spanish flamenco to a Greek ouzo anthem to the shores of Tripoli. It’s an excellent approximation of their high-energy live show.

The title track is a scurrying oldtimey swing number, a feel replicated on the gypsy jazz version of Bessie Smith’s After You’ve Gone and, later, the Betty Boop flapper vibe of CouCou, both punctuated by inspired, spikily virtuosic Smolens solos. The instrumental Espagnolette, a live showstopper, is basically a Belgian barroom dance featuring some wild singing saw and vocalese. The somewhat epic Amfurat de la Haidouck kicks off with the gypsy equivalent of a heavy metal intro, a tricky sway with furious, rapidfire chromatic accordion and a long, methodical buildup to a wild, frenzied, swirling coda. They follow that on a smaller scale with the shapeshifting dance Djordje’s Rachenitza and then Pena Andalouz, which sounds like an acoustic Alabina song. The  album also includes another crazily metamorphosizing dance tune, a stately waltz that gives Knudson and Martinez a chance to show off a more introspective side, an ecstatic Greek drinking song and another dance that interpolates dark Middle Eastern passages within a more upbeat gypsy framework. It’s another winner from one of this era’s most adrenalizing, captivating bands in any style of music.