It’s clear the mainstream doesn’t want him, not when the mainstream is still pining for the return of Julian, but to stream with the main has never been Sean’s goal. Sean Lennon has been on the outside of the mainstream for many years now, and not because the mainstream doesn’t want him. Wright continues is grand tradition of creating a foible-rich everyman with something dark lurking within (see Uncle Albert, Arnold Layne et al). Wright wriggles with that multi fingered attack of Claypool’s, grooving along like McCartney on Rain. There’s a whiff of old school Primus on Breath of a Salesman, the twang of the strings threatening to slap occasionally, but for the most part they stay in character. Claypool’s raw plucked bass sitting high in the mix, like John Wetton’s once was. “The Claypool Lennon Delirium” bounds along with the knowing referentiality of Tame Impala or Wand, a repsychled Dukes of the Stratosphere vibe, odd fluttering snippets of the first Webb Brothers album. Together, over 2 weeks, in a studio called Rancho Relaxo (of course) and untold empty bottles of the pinot grigio, they’ve created something both at home in the present and very much a paean to the past. But when the three combined, wine, Les and Sean, it somehow works. You would no sooner put the nimble fingered Primus bassist on a vineyard than you would him next to Lennon. Yes, that’s smoke emanating from your ears. It sounds authentic.įact fans, dig on this. Organ, fuzzed guitars, layered vocals, and Lennon’s adroitly simple drum patterns. Cricket and the Genie (both movements) is a smorgasbord of period elements. It’s a soft landing, that doesn’t appear to augur much. Opening track Monolith of Phobos seems almost a little on the nose, with its cosmic intro, and ever-so quirky wackiness. So this is space rock that seeks to base itself in actual outer space. Phobos, as you will know from playing Doom back in the day, is one of the moons of Mars. This odd coming together is a meld of like-minds, a space exploration in a craft of late-sixties, tie-dyed, bell-bottomed psychedelia. What’s that insistent ting-a-ling? Oh, it’s alarm bells going off somewhere in the chasms of my mind. I love surprises” – Dara Higgins on The Monolith of Phobos from Les Claypool & Sean Lennon, aka The Claypool Lennon Delirium
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