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.
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.
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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