A
t first thought, pairing Les Claypool with Sean Lennon
doesn’t make sense. Claypool is the mad genius behind
Primus, a thumb-thumping bass god, and an idiosyncratic
stylist. His aesthetic sensibilities were formed in a galaxy light
years away from Lennon’s song-centric, multi-layered, colorful
universe. You wouldn’t think to put them together. But when you do … wow. Like
chocolate and peanut butter, coffee and cigarettes, or Bob Dylan and electricity, their
disparate worlds merge in a Vulcan mind meld. It’s an obvious why-didn’t-I-think-ofthat collaboration—organic and natural.
And their music—retro, ’60s-era psychedelia with a twist—flows with obvious
synergy. It’s a fresh concoction and a unique blend, but doesn’t obscure the personalities
of its coleaders. In part, that’s because Claypool and Lennon have a lot in common.
“Sean keeps talking about how we’re bonded by fashion … or lack of,” Claypool says.
“We’ve become very good friends. I think a fundamental element of becoming good
friends with somebody is the notion that you appreciate similar things.”
The pair spent a few weeks last fall at Claypool’s home studio in Sonoma, California,
to sample homemade wine and create Monolith of Phobos, their sprawling trippedout new album. They collaborated on songwriting and production, played all the
instruments, and handled all vocals. The album features many of their favorite tricks
as well, like mind-numbing bass riffage, layered walls of feedback, and richly hued
arrangements. But those aren’t gimmicks. They serve the songs, create a moody yet
addictive atmosphere, and emphasize the duo’s shared sense of humor.
Claypool and Lennon rely on a boatload of gear to produce their psychedelic sounds,
though their fans won’t find too many new devices. “I just remade my pedalboard,”
Lennon says. “But it was more about the wiring than it was about the pedals I use. It’s
pretty much the same stuff I’ve been using for a while.”
“I’ve got a plethora of things on the floor,” Claypool adds. “For me it’s more about
convenience than anything, in which convenience means that I know it.” They’re using
mostly the same guitars, basses, and amps they’ve been using for years as well, although
Lennon recently started using BilT guitars. “I used to only play Fender Jazzmasters—
old ones—but I really think the BilT guys make amazing guitars,” he says.
We spoke with Lennon and Claypool and discussed their collaboration, songwriting,
arranging, live shows, gear, and why—for the first time ever—Lennon is okay covering
the Beatles.
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