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Rock - Erschienen am 20. April 1993 | Interscope

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Once audiences got a chance to hear Primus' instantly recognizable sound, driven by Les Claypool's bizarrely virtuosic bass riffs, their audience grew by leaps and bounds. It was enough to make their second major-label album, Pork Soda, one of the strangest records ever to debut in the Top Ten. Stylistically, it isn't much different from Sailing the Seas of Cheese, though the band does stretch out and jam more often. This can result in some overly repetitive sections, since Claypool's riffs are the basis for most of the compositions, but it also showcases the band's ever-increasing level of musicianship. Their ensemble interplay continues to grow in complexity and musicality, and that's really what fans want from a Primus record anyway. The material isn't quite as consistent as Seas of Cheese, though there are numerous high points; among them are "My Name Is Mud," on which Claypool plays his instrument like percussion, and "Mr. Krinkle," where he switches to a bowed upright bass. There are hints of lyrical darkness stripped of the band's usual goofiness (especially in the suicide lament "Bob"), but for the most part, the humor is again split between eccentric character sketches, cheery paranoia, and annoying novelties (with a slightly higher percentage of the latter than before). Still, despite occasional flaws, what makes Pork Soda a success is that the band keeps finding novel variations on their signature sound, even if they never step out of it. © Steve Huey /TiVo
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CD13,99 €

Pop - Erschienen am 1. Januar 1991 | Interscope

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CD13,99 €

Pop - Erschienen am 8. Juli 1997 | Interscope

The replacement of drummer Tim "Herb" Alexander with Brian "Brain" Mantia doesn't affect Primus' sound in any notable way on The Brown Album. That isn't surprising -- Les Claypool's side project Sausage sounds identical to Primus. What's notable about The Brown Album is how Claypool moves Primus even further into progressive and jazz-rock territory, concentrating entirely on the instrumental interplay of the group and caring very little for writing full-fledged songs. "Shake Hands With Beef," the first single from the album, has a reasonably amusing adolescent lyric, but the real attraction of the song is how its thunderous bass riff weaves in and out with the syncopated drums and avant guitar. In that sense, it does let the listener know what the album is about, and very few Primus fans should be disappointed by what The Brown Album delivers. It's standard Primus -- all instrumental interplay and adolescent humor -- but it's delivered with more finesse and skill than ever. © Stephen Thomas Erlewine /TiVo
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CD9,99 €

Rock - Erschienen am 23. April 2002 | Prawn Song

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CD13,99 €

Rock - Erschienen am 1. Januar 2006 | Interscope

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CD13,99 €

Pop - Erschienen am 1. Januar 1995 | Interscope

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CD13,99 €

Rock - Erschienen am 1. Januar 1999 | Interscope

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CD16,49 €

Rock - Erschienen am 1. Januar 2013 | Interscope

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CD14,99 €

Rock - Erschienen am 8. Juli 1997 | Interscope

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The replacement of drummer Tim "Herb" Alexander with Brian "Brain" Mantia doesn't affect Primus' sound in any notable way on The Brown Album. That isn't surprising -- Les Claypool's side project Sausage sounds identical to Primus. What's notable about The Brown Album is how Claypool moves Primus even further into progressive and jazz-rock territory, concentrating entirely on the instrumental interplay of the group and caring very little for writing full-fledged songs. "Shake Hands With Beef," the first single from the album, has a reasonably amusing adolescent lyric, but the real attraction of the song is how its thunderous bass riff weaves in and out with the syncopated drums and avant guitar. In that sense, it does let the listener know what the album is about, and very few Primus fans should be disappointed by what The Brown Album delivers. It's standard Primus -- all instrumental interplay and adolescent humor -- but it's delivered with more finesse and skill than ever. © Stephen Thomas Erlewine /TiVo
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HI-RES11,99 €
CD8,49 €

Alternativ und Indie - Erschienen am 29. September 2017 | ATO (UK)

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Dass Primus aus der Bay Area rund um San Francisco eine Vorliebe für Kinderlektüre besitzen, dürfte kein Geheimnis sein. Zuletzt vertonten sie den Soundtrack des Filmes "Charlie und die Schokoladenfabrik" aus dem Jahre 1971 auf dem Album "Primus & The Chocolate Factory With The Fungi Ensemble" neu. Außerdem war es die erste Platte seit "Tales From The Punchbowl", die sie wieder mit Tim Alexander am Schlagzeug einspielten. Auf "The Desaturating Seven" hört man dagegen neue Songs, die ihre Inspiration aus einer Geschichte von Ul De Rico beziehen. Bei dem farbenfroh illustrierten Buch "Die Regenbogenkobolde", das 1977 in der Erstauflage erschien, handelt es sich heute um ein gesuchtes Sammlerstück. Les Claypool hat seinen Kindern häufig daraus vorgelesen. Jeder der sieben Kobolde auf dem Cover dieses Albums repräsentiert eine Farbe des Regenbogens. Alle Farben wollen diese gefräßigen Kreaturen aus der Welt saugen. Die von Habgier, Betrug und Macht geprägte Handlung hat auch nach rund vierzig Jahren nichts an Aktualität und Wichtigkeit eingebüßt. Die Story bildet eine hervorragende Vorlage für Primus, um ihre atmosphärischen Qualitäten auf Gesamtlänge zu betonen. "The Desaturating Seven" sollte man deswegen am Stück genießen, um in die düstere Stimmung, die sich wie ein roter Faden durch das Buch zieht, einzutauchen. Im Gegensatz zu den Klassikern "Sailing The Seas Of Cheese" und "Pork Soda" wirkt diese Platte geschlossener und homogener. Auf virtuose Instrumentalkunst muss man jedoch nicht verzichten. Der Opener "The Valley" fasst zunächst die Handlung in Kurzform zusammen. Anschließend pendelt das Album zwischen melodiös-eingängigen ("The Seven", "The Scheme") und theatralisch-verspielten Nummern ("The Trek", "The Storm") hin und her. Den erzählerischen Fluss dieses Werkes halten die prägnanten Bassläufe und der eigenwillige Sprechgesang von Les Claypool und das funkige Gitarrenspiel von Larry LaLonde zusammen. Mit voranschreitender Spieldauer dringt "The Desaturating Seven" in immer proggigere Sphären vor. Ihre vielen tollen und anspruchsvollen Ideen bündelt die Band aber auf eine kurzweilige halbe Stunde. So verzetteln sich Primus nicht zu sehr in lästige instrumentale Spielereien. Das an "One Of The Days" von Pink Floyd erinnernde Bassspiel in "The Storm" stellt dennoch eine positive Überraschung dar. Auch die von indischen Skalen beeinflusste Gitarrenmotivik in "The Dream" lässt aufhorchen. Ganz am Ende greift "The Ends?" die behutsamen Akustikgitarrenklänge des Beginns von "The Valley" wieder auf. Im Grunde könnte man sich ewig in dem psychedelischen Klangbild auf dieser Platte verlieren. Die verschachtelten Lyrics von Les Claypool erschließen sich ohnehin erst nach einer intensiveren Auseinandersetzung. Dafür mangelt es den Arrangements keineswegs an Dramatik und Abwechslung. Interessante und Spannendes findet man auf dieser Scheibe noch nach Wochen. Mit "The Desaturating Seven" präsentieren sich Primus so gut aufgelegt und kompakt wie lange nicht mehr. Darüber hinaus kann man sich der einnehmenden Atmosphäre auf diesem Album schwer entziehen. Über die Versiertheit, die jeder einzelne Musiker in dieser Band an seinem Instrument an den Tag legt, staunt man als Hörer nach wie vor. Somit dürften selbst Erwachsene eventuelle Berührungsängste gegenüber Kinderbüchern langsam ablegen. © Laut
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CD9,99 €

Rock - Erschienen am 23. April 2002 | Prawn Song

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CD9,99 €

Alternativ und Indie - Erschienen am 12. September 2011 | Prawn Song Records

Nach elf Jahren finden sich Primus in der Besetzung ihres Debuts "Frizzle Fry" aus dem Jahr 1990 im Studio von Mastermind Les Claypool ein, um zum siebten Male ihrem Avantgarde-Frickel-Rock zu fröhnen. Das Ergebnis hört auf den Namen "Green Naugahyde" und sieht auf den ersten Blick so aus, wie man sich Rolf Zuckowskis Abschieds-CD wünschen würde. Dafür spricht der Inhalt eine gänzlich andere Sprache. Während das Trio auf ihrem letzten Output "AntiPop" (2001) schon fast mit eingängigen Harmonien aufwartete, geht es auf "Green Naugahyde" ganz im Stile von "Frizzle Fry" oder auch "Sailing The Seas Of Cheese" wieder voll und ganz um die Ausreizung des Vorstellbaren. Dem kurzen Intro "Prelude To A Crawl" folgt "Hennepin Crawler", der erste Beweis dafür, dass die sich mittlerweile in den Vierzigern bewegenden Protagonisten über die Jahre nichts von ihrer Virtuosität eingebüßt haben. Der Sound ist frisch und klar. Die Drums von Jay Lane sind tight und prägnant, Larry LaLondes akzentuiertes Gitarrenspiel unterstützt gekonnt die teils nicht nachzuvollziehenden Beats, während über allem der unvergleichliche Viersaiter von Les Claypool thront. In bekannter Manier gesellt sich sein mit allerlei Effekten zweckentfremdetes Stimmorgan dazu und lässt die Uhr für einen Moment stillstehen. Man fühlt sich zurückversetzt in eine Zeit, als das Crossover-Genre noch in der Wiege lag. Neben den spielerischen Fähigkeiten begeisterten Primus im Laufe ihrer Karriere auch immer wieder mit ihrem besonderen Sinn für Humor. Als würde die South Park-Crew das Ruder in die Hand nehmen, begibt sich das Trio mit "Eternal Consumption Engine" auf eine schleichende Irrfahrt in fremde Sphären. Richtig amüsant wird es dann auf der Suche nach "Lee Van Cleef", wenn Claypool und seine Kumpane im Off-Beat durch die staubigen Wüsten Arizonas galoppieren, um dem einzig wahren Helden des Italowesterns ihre Ehre zu erweisen. "Tragedy's A' Comin'" tritt dem Funk-Genre in den Allerwertesten, während "HOINFODAMAN" als einziger Song mit verzerrten Gitarren-Klängen zum abstrakten Headbangen einlädt. Die Musik auf "Green Naugahyde" einzuordnen fällt ungefähr so schwer wie die hundert Meter unter neun Sekunden zu laufen. Das war bei Primus schon immer so und ändert sich auch anno 2011 nicht. Die Band hat sich vor über zwanzig Jahren ihr eigenes Genre geschaffen, für das es bis zum heutigen Tage keinen treffenden Namen gibt. Konkurrenzlos zwirbeln die Amerikaner in einer eigenen musikalischen Liga und sorgen dabei bei den Einen für verwirrtes Kopfschütteln und bei den Anderen für offene Münder. Ich schließe mich uneingeschränkt der zweiten Gruppe an. © Laut
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HI-RES16,49 €
CD11,99 €

Alternativ und Indie - Erschienen am 21. Oktober 2014 | ATO (UK)

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Always following their own path, Primus have been making the musical world a joyously weird place since they made their debut in 1990 with Frizzle Fry. Now, over 20 years and seven albums later, Primus push themselves to new levels of strangeness with their eighth album, Primus & the Chocolate Factory with the Fungi Ensemble, an album that finds the band paying tribute to the iconic music of the 1971 film Willy Wonka & the Chocolate Factory. In the hands of Les Claypool and company, the score, originally penned by Leslie Bricusse and Anthony Newley, takes on a darker, more ominous tone. This is really saying something, given that the film (like the Roald Dahl book it was adapted from) is about a bunch of wretched children meeting comically grisly ends due to their own tragic flaws, while a manic chocolatier observes with a mixture of contempt and disinterest. In a way, Primus are taking the subtext of the film in which Gene Wilder (to whom the album is dedicated) acted so brilliantly and making it the text, so to speak. By coaxing the sinister undercurrents to the surface, Primus are able to make the instantly recognizable score all their own while still paying homage to the brilliance of the original. Of special note to fans will be the record's personnel, not only featuring drummer Tim "Herb" Alexander on his first Primus record since 1995's Tales from the Punchbowl, but also including a guest appearance by the Fungi Ensemble, made up of Frog Brigade percussionist Mike Dillon and cellist Sam Bass. While having their most celebrated drummer on hand adds an element of stability to what is a pretty far-out concept even for Primus, the addition of Bass and Dillon allows Primus to really push their sound to its creative limits, making Primus & the Chocolate Factory one of the band's oddest, yet most strangely compelling, releases to date. © Gregory Heaney /TiVo
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CD12,49 €

Rock - Erschienen am 11. August 1998 | Interscope

Rhinoplasty? Call it Miscellaneous Debris, Pt. 2. An EP of covers and live cuts designed to buy time between albums, Rhinoplasty is another small treasure for fans. When Primus covers songs, it rarely sticks to the original recorded versions, preferring to turn in new, sometimes startling arrangements that are often unpredictable. If the band hasn't chosen any surprising covers -- there are more Peter Gabriel and XTC tunes, as well as Police, Stanley Clarke, Metallica, and Jerry Reed songs, plus a new version of their own "Too Many Puppies" -- it makes up for it with great performances. Rhinoplasty is certainly an EP intended for the dedicated, but it does the most important thing any specialist release can do -- it doesn't disappoint. © Stephen Thomas Erlewine /TiVo
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HI-RES5,99 €
CD3,99 €

Rock - Erschienen am 12. März 1992 | Interscope

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What makes this 5-song EP of covers Primus's best release is the material. For once, Les Claypool's crew plays actual songs instead of sketching out a few ideas as an excuse for jamming. As a result, Miscellaneous Debris isn't as weird and alienating as previous albums, and often their reinterpretations -- from the clever ribbing of XTC's "Making Plans for Nigel" and Pink Floyd's "Have A Cigar" to the relatively respectful readings of The Meters, the Residents and Peter Gabriel's "Intruder" -- show flashes of brilliance, largely due to the loose yet focused musicianship. © Stephen Thomas Erlewine /TiVo
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HI-RES21,49 €
CD14,99 €

Rock - Erschienen am 20. April 1993 | Interscope

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Once audiences got a chance to hear Primus' instantly recognizable sound, driven by Les Claypool's bizarrely virtuosic bass riffs, their audience grew by leaps and bounds. It was enough to make their second major-label album, Pork Soda, one of the strangest records ever to debut in the Top Ten. Stylistically, it isn't much different from Sailing the Seas of Cheese, though the band does stretch out and jam more often. This can result in some overly repetitive sections, since Claypool's riffs are the basis for most of the compositions, but it also showcases the band's ever-increasing level of musicianship. Their ensemble interplay continues to grow in complexity and musicality, and that's really what fans want from a Primus record anyway. The material isn't quite as consistent as Seas of Cheese, though there are numerous high points; among them are "My Name Is Mud," on which Claypool plays his instrument like percussion, and "Mr. Krinkle," where he switches to a bowed upright bass. There are hints of lyrical darkness stripped of the band's usual goofiness (especially in the suicide lament "Bob"), but for the most part, the humor is again split between eccentric character sketches, cheery paranoia, and annoying novelties (with a slightly higher percentage of the latter than before). Still, despite occasional flaws, what makes Pork Soda a success is that the band keeps finding novel variations on their signature sound, even if they never step out of it. © Steve Huey /TiVo
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CD13,99 €

Rock - Erschienen am 23. Januar 1996 | Interscope

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CD13,99 €

Alternativ und Indie - Erschienen am 20. April 1993 | Interscope

Once audiences got a chance to hear Primus' instantly recognizable sound, driven by Les Claypool's bizarrely virtuosic bass riffs, their audience grew by leaps and bounds. It was enough to make their second major-label album, Pork Soda, one of the strangest records ever to debut in the Top Ten. Stylistically, it isn't much different from Sailing the Seas of Cheese, though the band does stretch out and jam more often. This can result in some overly repetitive sections, since Claypool's riffs are the basis for most of the compositions, but it also showcases the band's ever-increasing level of musicianship. Their ensemble interplay continues to grow in complexity and musicality, and that's really what fans want from a Primus record anyway. The material isn't quite as consistent as Seas of Cheese, though there are numerous high points; among them are "My Name Is Mud," on which Claypool plays his instrument like percussion, and "Mr. Krinkle," where he switches to a bowed upright bass. There are hints of lyrical darkness stripped of the band's usual goofiness (especially in the suicide lament "Bob"), but for the most part, the humor is again split between eccentric character sketches, cheery paranoia, and annoying novelties (with a slightly higher percentage of the latter than before). Still, despite occasional flaws, what makes Pork Soda a success is that the band keeps finding novel variations on their signature sound, even if they never step out of it. © Steve Huey /TiVo
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CD6,99 €

Rock - Erschienen am 12. März 1992 | Interscope

What makes this 5-song EP of covers Primus's best release is the material. For once, Les Claypool's crew plays actual songs instead of sketching out a few ideas as an excuse for jamming. As a result, Miscellaneous Debris isn't as weird and alienating as previous albums, and often their reinterpretations -- from the clever ribbing of XTC's "Making Plans for Nigel" and Pink Floyd's "Have A Cigar" to the relatively respectful readings of The Meters, the Residents and Peter Gabriel's "Intruder" -- show flashes of brilliance, largely due to the loose yet focused musicianship. © Stephen Thomas Erlewine /TiVo
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HI-RES5,99 €
CD3,99 €

Rock - Erschienen am 12. März 1992 | Interscope

Hi-Res
What makes this 5-song EP of covers Primus's best release is the material. For once, Les Claypool's crew plays actual songs instead of sketching out a few ideas as an excuse for jamming. As a result, Miscellaneous Debris isn't as weird and alienating as previous albums, and often their reinterpretations -- from the clever ribbing of XTC's "Making Plans for Nigel" and Pink Floyd's "Have A Cigar" to the relatively respectful readings of The Meters, the Residents and Peter Gabriel's "Intruder" -- show flashes of brilliance, largely due to the loose yet focused musicianship. © Stephen Thomas Erlewine /TiVo