It’s certainly not normal, but then again, normality isn’t something you would expect from exploratory musical mavens such as Puscifer, is it?
The purpose of a side project’s existence can vary depending on the circumstances. It could be related to an extended hiatus of the primary group or disbandment, or some inability to fully realize the potential of a certain musician within a band context. It could also serve as an outlet for exploring sounds and themes that might not be suitable or valid for the overall sound of a musician’s main band.
In Maynard James Keenan’s case, considering his two main projects outside Tool, A Perfect Circle, and the object of this review, Puscifer, there are not many differences. Not at face value, that is. When you listen attentively to the compositional style, percussive elements, and the overall feel of A Perfect Circle and Puscifer, they are quite distinct from those of Tool. Comparing these creative outlets, the feeling that comes across is that A Perfect Circle, when it first appeared, was already a fully realized vision. Benefiting from critical and public appreciation from the get-go. Puscifer, on the other hand, began as a quirky, offbeat, sprawling affair, but no less challenging or interesting. We can call this band the most upbeat of the three mentioned. But don’t assume the music is easy to listen to or even commercial (the word every self-respecting music aficionado loathes).
Every drum beat is clinically placed, executed with military precision, and every keyboard texture or melody is, at times, jolly, other times unsettling. Every guitar riff accentuates the menacing tone of the vocal delivery. A Perfect Circle is a guitar riff-driven band; this is more of a keyboard-based affair. As for the vocals, Maynard James Keenan is, as one would expect, mysterious, dark, and cryptic. When he sings, you automatically recognize him, but not in an awkward way, like when Gary Cherone was in Van Halen, excuse me! Van Cherone.The arrangements are so expertly layered, the manner in which the instruments, voices, and samples are seamlessly intertwined would make Alan Wilder blush. Maybe just for a second, because Alan Wilder will always be the genius behind Depeche Mode’s most celebrated records. Coincidentally, Recoil should be on your radar if you appreciate Puscifer.
Irreprehensibly produced and mixed by Mat Mitchell (bass, guitar, synths, stick) in association with the rest of the band. Every instrument sounds crystal clear and perfectly balanced in the mix. As a bonus, you get the participation of Danny Carey (Tool) and Tony Levin (Peter Gabriel, Paul Simon, King Crimson, and whoever else can afford him) on the song “Seven One.”
For every studio release they’ve put out, there’s a subsequent remixed counterpart (hopefully, this one will be subject to the same treatment), which tears apart and glues the songs back together in a Frankenstein fashion. The tracks seem to become completely different entities from their original configuration. In a way, we end up having two albums’ worth of material. The Yin and Yang of their compositions, in a manner of speaking.
Here’s hoping they maintain that particular trend.
Normal Isn’t is set for release on February 6th.
PHOTO BY: Travis Shinn
