Primal Scream Back With Vanishing Point Masterpiece

Yeah, we know this is an old photo of Primal Scream. Wanna fight about it?

At this early stage in the "electronica revolution," it's been

mostly electronic acts who've tried to act like rock bands in order to get over

on the masses. But the fact is, it's hard to shake your hips when they're

trapped behind a bank of keyboards.

So what if a rock band found a way to

make their music more electronic, while still maintaining that swaggering

essence-du-rock? Then you might call them Primal Scream.

Glasgow's Scream

have been the sonic equivalent of Reese Cups ever since their 1991 album

Screamadelica expertly fused Stones-influenced rock (peanut butter) with

Madchester dance beats and samples (chocolate). And even though their last

album, 1994's George Drakoulias (Black Crowes)-assisted mess Give Out But

Don't Give Up was an ill-advised detour into southern boogie, the band, now

buffeted with ex-Stone Roses bassist Gary "Mani" Mounfield, have returned to

form, on their upcoming release, Vanishing Point (July 8), on which they

recapture the title of the only wired rock band that matters.

Never content

to be mere '60s-mod-revivalists-cum-MC5-revolutionaries-with-tape-machines, PS

play it wide and loose on the 11-track album. From the Eastern-influenced

seven-minute opener, "Burning Wheel," a mix of funky beat tablas and Their

Satanic Majesties Request-era swirling Stones psychedelia, to the first UK

single, "Kowalski," a grim, chaotic wash of bleating keyboards, road movie

samples, whispered vocals and distorted beats crafted in homage to Marlon

Brando's brooding hero of the same name in "A Streetcar Named Desire," PS

effectively blur the lines between the two seemingly disparate


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