February 16th, 2012 
James Shotwell 
Artist: Punch Brothers
Album: Who’s Feeling Young Now?
Genre: Progressive/bluegrass/classical/acoustic
Label: Nonesuch Records
I remember writing a line in a review before in which I referred to my musical world of “rock meets metal meets Mozart.” Well, the latter third of that triumvirate is so, so incredibly pleased with this album and band. Yes, I’m sorry to say I was unfamiliar with Punch Brothers before today. These are the classics, embraced for a new generation, in the most divinely loving and refreshing and beautiful way. The music is so effortless it’s magical, and there’s an understated class and mastery that coats everything here in pure gold.
Punch Brothers are described in online quarters as “progressive bluegrass.” I’m not quite sure what that means, but to my ears what the music really seems to do is take the form, movement, and dazzling heights of classical music and play them to a modern sensibility on contemporary instruments. Therefore, you get expanse and grandeur but in a very down-home setting, belying the prowess and technical wizardry required to compose arrangements this complex. The band exhibit a wealth of influences and the relevance of the ‘bluegrass’ label varies with each track, but every song has such a compelling, rich make-up and story that the album is rarely short of breathtaking.
On the strength of opening track “Movement and Location,” the band you’d be most likely to compare Punch Brothers to is Explosions in the Sky. The music is similarly light and airy but substantial, with a fresh, breezy curiosity coursing through every strand. Yet, this band goes deeper, and offers a dazzling array of instruments that alternate between urgent swells of music and quieter, contemplative moments that allow the vocals to shine. The violin is particularly exquisite, a wistful and longing presence that adds glamour to the earthen sound. “This Girl” is faster and more vibrant, with a homely, parochial vibe that’s warm and engaging. The band has been praised in the past for their exquisite string-picking abilities, and this track is a fine example. It has a threadbare simplicity that’s incredibly charming – the music is rushing and trembles with excitement.
Unsurprisingly, the intricate set-up used by the band throughout the album lends itself to mood and ambience. Punch Brothers excel in capturing a certain sense or tone, and use this in turn to tell stories. The manner in which the songs evolve is fascinating, building and falling with each contemplative musing that escapes vocalist Chris Thile’s lips. The title track is an excellent example – it’s bold, the playing style more restrained and careful. The staccato movements establish rhythm and pace, and the emphasis on bass instruments engrosses the listener in a darker, more exuberant manner. “Patchwork Girlfriend” is urbane, with a kind of twisted upper-class lilt and elegance that is at once pompous and mocking. “Hundred Dollars” has a vaguely scornful and dismissive air that feeds into the string arrangements, making them heavier and viscous. It’s suave and smoky, casting off the waspish elements of the other songs. “New York City” then is a turnaround – adventurous, wild, and exhilarating, it mirrors the ebullience of the titular city and its endless discoveries, while guest vocals give life to the female figure in the lyrics and afford her a ghostlike, haunting presence.
The album tends to be equal parts music and vocals, with the abundance or sparseness of either/or used for contrast and impact. “Flippen (The Flip)” is a wordless track, allowing the band’s technical talents to really thrive. The song is structured around spirited, boisterous movements that interact carefully with more delicate notes. This highlights the wispy beauty of the instruments but more importantly, illustrates the band’s ability to switch from profound, meaningful moments to exuberant gambits. They give life to their instruments, and the joy and fulfilment is evident in their playing. “Kid A” is barely there, a youthful, minimalist track that delights in its carefree surroundings. It’s very low-key, aside from quickening thrills of adventure here and there, and provides a soothing breather just before the album draws to a close.
There are many more tracks on this album, each of which merits a write-up in and of itself. Taken as a whole, Who’s Feeling Young Now? is a dazzling, breathtaking work that celebrates true musicianship. An absolute must for the [relatively] new year.
SCORE: 10/10
Review written by Grace Duffy
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