Lambchop’s Kurt Wagner’s weathered voice typically brushes up against melody, rather than embracing it. He sings very simply, with feeling but not much artifice, and if we left it at that, Punching the Clown might be just another exercise in minimalist Americana. But instead, in the making of this 17th full-length, Wagner became obsessed with lined-out singing, an un-notated form of gospel in which a leader sings a line, then a whole choir follows it in unison . . .
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