A&E
Tuesday, September 13, 2011 www.msureporter.com/arts-entertainment
PRIMUS RETURNS! R o c k R oya l t y C o m e s Back Strong From 12 -yea r H iatu s
BRIAN ROSEMEYER
a&e editor
Twelve years ago, after Primus released their eighth studio album, Antipop, if you told fans of the band that they would have to wait almost a decade and a half longer to hear a new release, you would have gotten pork soda dumped on your head. But here we are, 2011, and Primus, fronted by Les Claypool, has coolly laid a brand new album on the world’s record player. Green Naugahyde releases Sept. 13, to much delight for fans of America’s favorite band that sucks. Primus is an eclectic group of musicians comprised of Claypool (vocals, bass), Larry LaLonde (guitar) and Tim Alexander (drums). The remarkable talents
and chemistry of the musicians leaves for a musical experience unlike any other. Primus sounds not far off of what you would hear if you ran Rush through a fun house, sprinkled it with the grime of Blue Cheer, rolled up it in Tom Waitsesque story telling and ‘tin-can’ production methods then jarred the whole mess in ascorbic acid and let it sit in the sun for a few years. When you open the jar you are initially taken aback, but if you sip, you smile. Green Naugahyde does not stray from the aesthetics with which the group has formed their following, cult as it may be. Primus may have lost a little bit of edge sonically, but that is only in the delivery of the music. They stay away from punky or grungy songwriting and stuck to the core
Green Naugahyde releases Sept. 13, the band comes together again strong, and pleases new and old fans alike.
of what the band is; bass-drivenfunk-acid-jazz-metal-pop. The composition on the new record is as good as ever. The melding of Alexander’s drums and Claypool’s rhythm/lead bass is as tight as anyone could ever expect. LaLonde adds more to the mix than with earlier records where he just sort of fiddled around over the rhythmic elements. On Green Naugahyde he creates more of an ambient effect, setting mood and atmosphere. The mesh of all the elements within is rich and colorful, providing an enjoyable listen on both lighter and deeper levels. You do not have to look too far into Green Naugahyde to enjoy it, it stills moves with life and spunk. But if you strap in and devote all your audio attention to it, you find a special treat in the incredible playing-power of the band. Claypool’s lyricism has the same social and political sting with a crooked half-crazed grin as it always has. Lines like “Obama waved his pecker at the infrastructure wreckers, said ‘now what you gonna do about that gun control?’” from “Eyes of a Squirrel,” are indicative that Claypool has retained his sense of humor and social commentary. Similar examples are littered throughout “Moron TV” as well as “Tragedy’s a Comin’.” The strongest song that could possibly be packaged as some sort of single is “Eternal Consumption Engine.” This isn’t to say that they should market is as such, or that it would even be successful, but it is a highlight of the record. The bouncy bass line, reminiscent of “Space Farm,” is trademark Primus, with lyrics taunting the concepts of modern consumer-based society. The tongue-in-check words match the goofy splashing and clanking drumming of Alexander and Claypool’s over-exaggerated vocal performance as he proclaims “everything’s made in China!”
“They stay away from punky or grungy songwriting and stuck to the core of what the band is; bass-drivenfunk-acid-jazzmetal-pop.” Modern production techniques have benefited Primus’ sound. On the chunking “Extinction Burst,” each element of the song can be sorted through and appreciated, where as in earlier efforts from the band, some of the songs became muddled and lost in their concepts. Songs like “Lee Van Cleef,” show Primus has not exhausted itself in its purpose by not doing too much or too little to the success the group has built itself upon. Fresh songs and ideas are found on all of Green Naugahyde. Primus seems to have an apparently infinite bank of possibilities when it comes to these three musicians coming together under this moniker. Fans may have been a little doubtful that Primus could stay relevant after their 12 year hiatus. Fans could have worried that Primus would either try to reinvent their sound, or stick to their guns and become stagnant. The band did neither of these, and both at the same time. They simply rolled with what they knew, brought it into the context of their time off with other projects and tours, and produced an album which (although not necessarily “relevant” to anyone but Primus fans) delights at every song with nostalgia and intrigue from what is sure to be a staple in American alternative history.