By Jon Stone | @jwstone

grass|roots ep. 5

I’m both fascinated and baffled by the Punch Brothers’ refusal to allow the music they make to be classified as bluegrass. I suppose that Chris Thile has been pushing that line since way back in Nickel Creek where the band took more of a “yes, but” approach. And while back then that “but” was aimed at securing Nickel Creek’s success as a pop band that played with traditional bluegrass instruments, Punch Brothers have pushed that same paradigm into as many different genres as to have made, in their eyes, the “but” no longer accurate.

I’m not so sure. To me it seems disingenuous and even slightly contentious to drive that hard line – to insist a separation from a tradition so rich and from one that the players in the band have such strong ties to. I suppose that Punch Brothers are making an important (to them) effort to break free of a tradition, and they must have important reasons for that. In fact, the only thing that allows for a bit of empathy is my own understanding and experience (and difficulty) with academic disciplinarity (I’m a grad student in an English department), which can sometimes feel like over-chaperoned school dance which, as you might imagine, often stifles creativity and “new moves” even as it demands them.

All of this is by way of introduction to Antifogmatic. On the new Punch Brothers record, Thile’s band’s does its best to meet that multi-genred challenge. In doing so the band presents a diverse collection of songs: each crafted with a slightly different aesthetic, but cohesive enough to hang together in surely the most concise and likely the most (commercially) successful Punch Brothers record to date. (I’m including 2006’s How to Grow a Woman From the Ground here. It was a Punch Brothers record even if, as banjoist Noam Pikelny joked during their Bonnaroo set, it was released under a different band name: “Chris Thile”.)

That cohesion is achieved by the band’s devotion to their acoustic instruments. That devotion, though, is also what makes the bluegrass distinction difficult to shake. The record was produced by the multi-talented John Brion (His list of production work is long, but my favorites are his work on Rufus Wainwright’s eponymous debut and Fiona Apple’s 1999 release When the Pawn…). Brion’s goal was to get the sound of the record as close as possible to what he heard when he sat in the middle of the musicians while they played. I think he succeeds as each percussive tap and evocative pluck of the five instruments in play ring through giving the record a sound that highlights both its parts and the sum of those parts.

The concision on Antifogmatic is achieved, most notably, by the absence of a 40-minute, pseudo-classical piece (and in my opinion, masterpiece) that was the last record’s epic “The Blind Leaving the Blind.” The songs are mostly all healthy, four-minute affairs, but Antifogmatic conspicuously leaves the long instrumental (and technically mind-blowing) jams for the deluxe edition.

For me this album is a small step back for fans of the emotional powerhouse that was 2008’s Punch—it doesn’t delve nearly as deep into the depths and gutters of life’s toughest lessons like Punch did. But this, as I mention earlier, is probably the right move for the band to make. I argued in my review of Punch that Punch Brothers managed to be accessible despite their affinity for progressive playing, and while I think that was likely a misplaced argument to be making for that album, it fits perfectly for Antifogmatic. The new record should easily capture the attention of new fans with songs like the opening, Strokes-esque “You Are,” ballads like “Alex” and the barn stomping “Rye Whiskey” (which in recent episode of All Songs Considered, Bob Boilen himself mistook for a standard). Every song on the record is original, every song was written collaboratively, and even though the band gets billed as “Punch Brothers featuring Chris Thile” on their current tour, on Antifogmatic, Thile is clearly making room for the rest of the band.

So the question remains, bluegrass or no bluegrass? Well, give a listen to another album standout “Next to the Trash” in which the Punch Brothers move seamlessly (as they so often do) between at least three genres. I think it really just boils down to generational traditions. If you try to lump these guys in comfortably with the last 50 years of bluegrass musicians, you just can’t. But for me in 2010, this is how the best bluegrass sounds. This is the future.

Buy: Punch Brotheres – Antifogmatic

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I can’t resist posting this video of the boys playing “Cry, Cry Darling” with another favorite of mine, Sarah Jarosz, backstage at Bonnaroo. Enjoy.

By Alex Schaaf

Jeanna Salzer is a budding singer/songwriter from Milwaukee who has been gaining in praise from around the city, including being voted Milwaukee’s Best Acoustic Musician and Female Vocalist of 2009 by Shepherd Express. Her song “Take It All” was also listed as the #41 best song of 2009 by 88Nine Radio Milwaukee. That song can be found on the group’s newest EP, which was released late last year, entitled “Breaking Point.”

The EP is quite solid, consisting of six songs that showcase the band’s wide range of styles, from waltzing romanticism (“Breaking Point”) to fist-pumping rock (“Love Me”). Salzer’s vocals take center stage throughout, singing in a style that could be compared to such present-day divas as Annie Clark (St. Vincent) or Regina Spektor, but with enough unique power to stand alone from those comparisons. Each track is injected with a large dose of pop sensibility, as each song could find a comfortable home on the radio; but aside from that, there is also a high degree of musicianship present in the band’s playing, which sets it apart from the more conventional fare sometimes found on the airwaves. The second half of “Penny Heaven,” with its fierce vocal build-up, is worth the price of the EP alone.

I previously saw the Jeanna Salzer Band live when they headlined Linneman’s earlier this year, and that performance really convinced me that Salzer and her band are something to keep an eye on in the upcoming months. Utilizing a mix of originals and well-selected covers (St. Vincent’s “Marry Me” and Bon Iver’s “Lump Sum”), the band expertly played to the packed room, converting many listeners to dancers by the end of the night. The Bon Iver cover elicited a big response from the crowd, as the delicate vocals were preserved while adding a bigger rhythm component underneath, getting the crowd out of their seats. But even bigger than that was original track “Love Me,” which got the biggest response of the night, an impressive feat for an up-and-coming band.

Salzer recently collaborated with Nicholas Sanborn from Made of Oak for a recent Unlooped session. The Jeanna Salzer Band plays at Summerfest tonight on the Cascio Interstate Music Stage at 7:30PM.

Myspace: The Jeanna Salzer Band
MP3: The Jeanna Salzer Band – “Breaking Point”

We are pleased to premiere the Delta Spirit video for “White Table” created by the consistently awesome crew at Yours Truly. If you have not yet checked out their new album, History From Below, you’re missing out on what we feel is one of the year’s best releases. We’re giving away copies of it here.

Buy: Delta Spirit – History From Below

By Jeff Kollath

Claude Coleman is a busy, busy man. As the drummer for Ween and the front man for the underrated and underappreciated rock/soul outfit Amandla, Coleman is spead pretty thin, but found some time to sit down with MoB and answer a few questions about Amandla’s upcoming Midwest tour, their new record, and his role as a music teacher. Ever since suffering life threatening injuries in a 2002 car accident, Coleman has pushed himself musically, personally, and professionally, creating incredible music in numerous forums. Check out Amandla over the next three nights at the following venues:

June 30: Chicago IL – The Cobra Lounge
July 01: La Crosse WI – JB’s Speakeasy
July 02: Madison WI – The Frequency -10pm – with Charlene Kaye and Brown Derby- $7

It has been a while since you have been up our way. What’s new with the band and what can we expect to see during your mini-run of shows in IL and WI?  

Amandla has never been as tight live. I’ve got new players, cats like “Chocolate Chip” Moore who’ve I’ve played on and off with forever – I always wanted to play with him in Amandla. They’re hardcore musicians; like to play with charts! I’m slipping them mescaline-laced drinks at night playing Brian Eno through my room walls to loosen things.

You guys are working on a new record (“Laughing Hearts”). Tell us a little bit about it, when we might see it, and how, if at all, will it compare to “The Full Catastrophe?”

Well, it’s just me again building everything thus far, but I am inviting a lot of my friends a bit more on this one. I’m gifted with a lot of friends, and lot of ‘em are incredible. I’m really hoping to ramp up the keys side of things and would love to have Glen McClelland on just about everything, and also players like I’m hoping folks like John Medeski who agreed to contribute on catastrophe to contribute.

Musically, it feels like the best material I’ve ever, ever written for myself, which for me is always the way I approach songwriting. The tunes serve and heal and speak for me, all of the above.

Compared to  Catastrophe, I think it’ll be a bit more live, a bit more beat driven, but still pretty rich, and still pretty much song oriented. And it’s going to be exceedingly happy dammit. Catastrophe was for me to finish after a mishap, and this one is all fresh and it feels great. Plus I have amazing spaces to record. I’m not fighting anything with my sound and embracing the freedom of it. I’m aiming for a late summer/fall release.

You do most of your recording in a vintage, 1940s-era radio studio. Talk about how you came into using this space and how the restoration process is going.

I’m tracking between CoMA Studios in Trenton, NJ, and my project space amidst a extreme-renovation project my wife and I are living in, in East Amwell, NJ. C.O.M.A. is a restored 1940’s era radio station with this massive live room designed for the Trenton Symphony Orchestra, who performed live as the station transmitted W.T.O.A.on the public buses.

The studio is nestled in a large factory complex that’s being turned into a artist’s campus, with rehearsal rooms, studios, show rooms, and plans for a venue, that will track straight to the studio. The complex also has its own radio tower, so the possibilities are endless. Partners Benjamin Keating and John Drezner are bringing in talented local artists and studio owners to create a form of recording studio co-op.

The office/staff area is furnished with woodpanel wainscoting, all the corners and door molding features beautiful natural-finish moldings that are curved for acoustics. The place is a fantasy, back in time. I go from this intense, studio environment to my 10×15 room with wall framing and bubbles of insulation sticking out everywhere – with great small room sounds and wood floors.

Besides being the front man for Amandla, you are the drummer for Ween, and a session musician, among other things. What really jumps out from your bio is your role of a music teacher. Tell us about how you started doing this and how it helps in the myriad other projects you are involved with.

I first starting teaching in summer camp programs in 2002, with a NYC program called Music Ascension. In addition to group music games by the lake, I ran a recording studio program that enrolled a small group of kids that wrote and recorded music on a semi-mobile ProTools system.

I communed on bunk beds in the woods working late nights in a cabin, everyday making and recording music the kids were writing, finishing the course producing a mixed CD at the end their songs. I remember being on the ProTools forums online at 2:30am, in the Staff cabin office on their 486 PC, trying to get an answer to a system issue.

Did that a few years, becoming hooked to it, then I became Director of the Paul Green School of Rock in NYC, as a sort-of right hand to Mr. Green, helping him setup the Manhattan branch. Now I teach here and there with school, mostly with the Princeton, NJ branch. teaching is great studying and I think part of why I’m so into my current stuff is because I’ve been dissecting Johnny Greenwood parts and firkin Badfinger tunes for over a year – both horrible and great – but you really go back to school, period.

I get to study then teach it on drums, bass, guitar, voice, as well as direct kids every week through rehearsals for the shows, which is usually fun but pretty impossible shit – kids are literally scaling the PA on sugar rushes. In the end, every single time, the shows are pretty slamming, and to hear young talent is pretty great.

We’re always on the lookout for new artists — any new discoveries that you’d like to share?

You know, I’m not too up on what’s going down with a majority of newer music, and usually find things late. I have personal favorites that are pretty subjective because I’ve either worked with them or I know them. That being said, I hear a lot of actually beautiful stuff in a current sea of poop, and I feel hopeful about certain directions of music. I don’t get to follow through on most of it. I’m all about re-discoveries of the past; I’m a crate digger.

Myspace: Amandla

When Wolf Parade announced their new album, Expo 86 would be arriving on Sub Pop this year I didn’t jump right out of my seat in excitement. Why? I’m not really sure. I’ve enjoyed all the band’s previous records and enjoyed them live. I guess after thinking about it, my initial lack of enthusiasm stems from my adoration for the side project’s the band spawned – Sunset Rubdown and Handsome Furs.

Patience paid off, and now several listens in, I’m happy to say there’s a lot to get excited about on Expo 86. It’s out today. We’ll start you off with two downloads below, and you’re on your own from there. Enjoy.

Buy: Wolf Parade – EXPO 86
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MP3: Wolf Parade – “Ghost Pressure”
MP3: Wolf Parade – “What Did My Lover Say? (It Always Had To Go This Way)”

If you’ve been around Milwaukee, the name John The Savage should not be a stranger to your eyes and ears. I first saw the band opening for William Elliott Whitmore at Stonefly last year, and have since missed many connections with the group.

Tonight, I’m seeing the band out at Summerfest, where they headline the Cascio Interstate Music Stage at 9:00 PM. The band has a new EP out called Still Stuck In The Cyborg Fortress, which is currently available at their shows. I’m hoping to score one for myself tonight.

Below, check out a few from their last full-length, Kitchen Voodoo. Recommended for fans of Tom Waits, Menomena, and Beirut.

Myspace: John The Savage
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MP3: John The Savage – “Bathroom Stalls”
MP3: John The Savage – “Death Of A Salesman”