Green Naugahyde
ATO/Prawn Song
It’s been eleven long years since Primus went on hiatus, and in that time their cult status has only grown, following their rise to prominence in the nineties with their experimental jams of absurdity. After years of Mackerels, Bernie Brains and Fearless Flying Frogs, Les Claypool and Larry LaLonde, now reunited with original drummer Jay Lane, are back with ‘Green Naugahyde’, their seventh studio album and first new materal since 2003’s ‘Animals Should Not Try to Act Like People’.
There’s plenty of
interesting themes abound on ‘Green
Naugahyde’; ‘Jilly’s on Smack’ describes a friend the band lost due to a
heroin addiction; ‘Lee Van Cleef’ is a tale of Claypool’s childhood, and
there’s more in the form of alien abduction (‘Green Ranger’), stabs at reality
TV and indeed our viewing habits (‘Moron TV’) and our obsession with eternally
socialising online (‘Eyes of the Squirrel’)
There’s a heart of
darkness within ‘Green Naugahyde’
that pervades through the course of the album. It’s not all grim but the
aforementioned ‘Jilly’s on Smack’ has a deep rumbling bass groove, as Claypool
refrains “Jilly’s on smack/and she won’t
be coming back/for the holidays” at numerous points. There’s also a
psycho-circus vibe of ‘Eternal Consumption Engine’, which ends with a bastard
chant of “Everything’s made in China”
In a weird way it’s a gleeful moment, and let’s not forget that Primus are
forever capable of making catchy, hopping songs that give the three-piece their
trademark quirk – of which there are plenty of those.
For example, ‘Last Salmon
Man (Fisherman’s Chronicles, Part IV)’ continues the aforementioned Chronicles
and leads listeners through a merry swamp march;
while ‘Tragedy’s A’
Comin’’ is one of the finest funk songs I’ve heard in a while, with a bouncing
chorus that will worm into your brain and command you to jive; the
aforementioned ‘Lee Van Cleef’, which doubles up as a tribute to the actor of
the same name; and ‘HOINFODAMAN’, which is aggressive in its delivery but has
enough pop and zazz to keep it uptempo.
Returning drummer Lane
often takes a back seat in more ways than one to Claypool’s obvious ridiculous
bass skills, but does get the chance to shine often enough too, getting a nice
little drum intro on ‘Green Ranger’ and chucking in tight little fills and
rolls all over the shop when called upon. LaLonde doesn’t even get quite as
much prominence as on previous Primus records, but still backs up Claypool
favourably, shoving in plenty of subtle licks and bridges above those numerous
grooves.
With Lane back on the
throne, the album definitely takes a more direct approach akin to the ‘Frizzle Fry’ days, rarely meandering and
drifting off into jam experimentalism. The years have been kind to Primus –
they’ve managed to return with an album that doesn’t rely on their previous
success and still sounds remarkably fresh today. It might take a little while
to grow on you but it’s worth repeated listening, and it’s pleasant to see that
Primus haven’t lost their touch while in the wilderness.
Peter
Clegg
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