The Maynard James Keenan project Puscifer is known for its unpredictable live shows and music—in the best possible ways. The ever-evolving group’s excellent new album, Money Shot, is no different, covering everything from bewitching electronics and harsh industrial sounds to torturous metallic rock and sparse, gothic-tinged synth-folk.

Keenan checked in near the start of Puscifer’s North American tour to discuss the new record, a book project he has in the works and memorable past shows in Las Vegas.

When did the songs on Money Shot start coming together? [Puscifer co-songwriter/co-producer Mat Mitchell and I] have been kicking around a lot of the ideas for a while. There’s been pieces that have been in the Dropbox folders just kind of marinating, but we really turned the heat up about two years ago.

Vocalist Carina Round definitely feels like she has a more prominent place on the album, especially vocally. How did she fit into the whole process? Just a different flavor, you know. Having her vocal more pronounced on this record … she was on the last one, and the last couple of the EPs as well. But I would write a lot of the vocals, I would write the harmonies and I would sing them. And then I would have her kind of come in as a backup layer, to kind of give it a different dimension.

On this one I did a similar thing, but then instead of me actually singing the stuff I was writing I actually had her sing it. So it added that different dimension. And in many cases, there would be harmonies where I’d just hit a wall or I wanted to take a different direction. But trying to reinvent yourself, you can only do so much of that. So I would just hand it over to Carina on a couple of the songs and go, “Can you finish the end of this? Take the words I already wrote, and then come up with a vocal at the very end of the song.” She would just run with it. That’s kind of how that came about.

When that happened, what were you most pleased by with the results? There were a couple moments, but it’s more about just the overall feel of the record. I feel like having that other vocal on there takes it out of me being the singer. It just ends up being more of a piece rather than a band behind a guy.

When you and Mat looked at all those little bits and pieces of things you had floating around, what really stood out to you about the songs in general? Were there any sort of themes, either musically or topically, that stood out? Never really topically; it’s just more about getting the music together and then trying to figure out what the story is based on what we’re hearing. Now I can’t even remember which ones they were, but there were a couple [of songs] that actually had three different approaches. Same core melody, but three completely different approaches as to how they were performed. I would just kinda go back to Mat and go, “I don’t know man, I’m not feeling it. I know I had an idea, on this particular vibe, but I’m not feeling my original idea now. Maybe I’m a different person, maybe … whatever.”

So we’d redo it: We’d change the tempo, we’d change the key, we’d change the approach. And then, finally we’d just be like, “Ah, there it is,” and then you dig into it that way. Other than individual pieces being adjusted and tweaked just to find that piece that inspires, most everything else fell together a lot more easily. And in relation to each other, by the time you’re done with it they all kind of fit together in a way, because that’s just where you are today as opposed to five years ago.

Paul Barker, who’s known for his work with Ministry, is playing with Puscifer on this tour. What’s he bringing to the music?

Well, he’s Paul Barker. He’s shredding on the bass, so it’s just nice to have him out with us. We have a big group of people out, so it’s nice to have a professional bunch of people. He’s seen, of course, some dark days on the road, and solid music. But then the backstage antics, I’m sure he’s outgrown. I’m sure he’s super stoked to be on the road with us, being the mellow, art-driven project that we are.

Are there any particular comedians that you’re enjoying these days? I’ve always been a fan of South Park, not only because of their fantastic social commentary, but just their work ethic. I don’t know if you’ve seen that documentary [6 Days to Air, but] they basically produce a show in a week, and it’s pretty full-on. There’s no wiggle room. So it’s pretty inspiring that those guys have been doing it as long as they have, and they’re still as funny as they are and still relevant. That’s definitely something to be proud of, if they’re not already.

Do you have any writing projects in the works? I know that there was talk at some point that you were potentially working on a book. I’m working with a friend of mine; we’re doing a semi-autobiography. We’re shooting [for] next fall, but we’re very close to finishing it up, so our deadline is basically February, and we’re well on our way to meet that deadline, to make sure it’s out for next fall. The hard part is coming up with a title. That’s very hard.

You’ve played Vegas a lot in the past. Puscifer even had its first shows there in 2009. Do you have any particular memories of playing the city? When they had [drummer] Tim Alexander backing the truck up a double set of ramps to get the Airstream from the parking lot onto the stage, that was nailbiting. “How the hell is this going to go, are we gonna die?” But he made it, so you know, that was one of those moments you go, “We probably shouldn’t have done that.” (laughs)

Puscifer December 12, 8 p.m., $39-$58. The Pearl, 702-942-7777.