Lambchop's Punching the Clown: A Haunting Exploration of US History
Lambchop's 17th studio album is a spectral and spellbindingly ambiguous stirring of US history, with Kurt Wagner's voice and lyrics weaving a complex narrative that is both intimate and unsettling
Lambchop's latest album, Punching the Clown, is a remarkable achievement, one that showcases the band's ability to craft music that is both haunting and beautiful. With Kurt Wagner at the helm, the band has consistently produced high-quality albums, but this one stands out for its stripped-back sound and poignant lyrics.
The Sound of Punching the Clown
The album's sound is characterized by acoustic guitar and banjo, with the occasional deployment of bass or piano, and the faintest hint of electronics. Wagner's voice is also stripped back, sounding as if he's singing directly in front of you. The backing vocals, provided by the London Choir and the Eau Claire Vocal Sextet, add a sense of depth and complexity to the music, inspired by lined-out singing, a form of hymnody with roots in 17th century Britain.
The album's tunes are strong and abundant, with tracks like Andrew Jackson Asshat and Stella boasting breathtaking harmonies and melodies that could have been written at any point in the last 100 years. The lyrics, however, are more oblique, with Wagner writing in a way that forces the listener to latch on to odd, striking lines, like snatches of overheard conversation.
Themes and Influences
The album is informed by current events, with tracks like White People and Afterburner referencing the past and present in a way that is both ill-omened and unsettling. The album's themes of disquiet and uncertainty are amplified by the fact that Wagner's lyrics are often implicit, leaving the listener to interpret the meaning behind the words. The album's use of historical references, such as the Great Depression and the parable of the rich man and Lazarus, adds to the sense of unease and uncertainty.
A Lasting Impact
Punching the Clown is an album that lures the listener in with its warmth and intimacy, but ultimately leaves you unsettled. The haunting quality of the music is amplified by the fact that you can never be 100% certain exactly what Wagner is driving at. The album's impact is a testament to the skill and craftsmanship that Wagner has developed over time, and the steady, unflashy success that has afforded him the time to develop his unique sound.
| Track | Description |
|---|---|
| Just West of Nicollet | Opening track with a rapper in braggadocious fairground-barker mode |
| Andrew Jackson Asshat | Breathtaking harmonies and a melody that could have been written at any point in the last 100 years |
| Stella | A melody that could have been written at any point in the last 100 years, with fragments of Wabash Cannonball |
| The New World Wave | A dreamy chorus carried by the choir, with a muttered vocal from Wagner |
| White People | Borrowing the chorus of Allan Toussaint's Night People, with a shift in mood from eager to ominous |
| Afterburner | References to the past and present, with a sense of disquiet and uncertainty |
