Joined: Sun Oct 17, 2004 5:25 pm Posts: 35180 Location: Brasil Gender: Male
Primal Scream reveal new album details
'Beautiful Future' is out in July
Primal Scream are to release their new album 'Beautiful Future' in the summer.
The follow-up to 2006's 'Riot City Blues', out on July 21, will be preceded by the single 'Can't Go Back' on July 14.
As previously reported in NME, the LP features a collaboration with CSS singer Lovefoxxx on the track 'I Love To Hurt (You Love To Be Hurt)'. Coincedentally, CSS release their new LP 'Donkey' on the same day.
Other song titles include 'Zombie Man', 'Uptown' and the title track.
Primal Scream play a number of UK festivals this summer, including Hop On the Farm on July 6 and T In The Park on July 12.
Quote:
1 Beautiful Future 2 Can't Go Back 3 Uptown 4 The Glory of Love 5 Suicide Bomb 6 Beautiful Summer 7 Zombie Man 8 I Love to Hurt (You Love To Be Hurt) (feat. Lovefoxxx) 9 Over and Over (feat. Linda Thompson) 10 Necro Hex Blues (feat. Josh Homme)
_________________ need you, dream you, find you, taste you, fuck you, use you, scar you, break you, lose me, hate me, smash me, erase me, kill me....
Last edited by psychobain on Wed Jul 16, 2008 2:19 am, edited 4 times in total.
Joined: Sun Oct 17, 2004 5:25 pm Posts: 35180 Location: Brasil Gender: Male
PRIMAL SCREAM ARE BACK WITH THEIR 9TH STUDIO ALBUM - THEIR FIRST FOR B-UNIQUE RECORDS. THE RECORD, TITLED ’BEAUTIFUL FUTURE’, IS OUT JULY 21ST, AND FEATURES TRACKS PRODUCED BY, AMONGST OTHERS, BJORN YTTLING (PETER, BJORN AND JOHN] AND PAUL EPWORTH [BLOC PARTY]. THE ALBUM INCLUDES THE STORMING NEW SINGLE ‘CAN’T GO BACK’ – OUT JULY 14TH.
FEATURING GUEST COLLABORATIONS FROM LOVEFOXX OF CSS, JOSH HOMME OF QUEENS OF THE STONE AGE AND FOLK LEGEND LINDA THOMPSON, THE ALBUM IS AS DIVERSE AND BRILLIANT AS WE HAVE COME TO EXPECT FROM AN LP FROM THE LEGENDARY GROUP.
BUT YOU DON'T HAVE TO WAIT UNTIL JULY TO GET A TASTE OF THINGS TO COME - DOWNLOAD NEW TRACK 'URBAN GUERILLA' FOR FREE RIGHT HERE, RIGHT NOW...
Joined: Mon Jan 16, 2006 8:48 pm Posts: 4552 Location: Ohio Gender: Male
The only reason why I might check the song out is because it features Josh. I have no idea what Primal Scream are like other than a terrible song that was on GTA San Andreas. It was easily the worst song on the radio station it was on.
_________________ Back from the dead.Fuckin' zombies maaan.
Joined: Tue Jun 26, 2007 6:50 pm Posts: 1663 Gender: Male
psychobain wrote:
PRIMAL SCREAM ARE BACK WITH THEIR 9TH STUDIO ALBUM - THEIR FIRST FOR B-UNIQUE RECORDS. THE RECORD, TITLED ’BEAUTIFUL FUTURE’, IS OUT JULY 21ST, AND FEATURES TRACKS PRODUCED BY, AMONGST OTHERS, BJORN YTTLING (PETER, BJORN AND JOHN] AND PAUL EPWORTH [BLOC PARTY]. THE ALBUM INCLUDES THE STORMING NEW SINGLE ‘CAN’T GO BACK’ – OUT JULY 14TH.
FEATURING GUEST COLLABORATIONS FROM LOVEFOXX OF CSS, JOSH HOMME OF QUEENS OF THE STONE AGE AND FOLK LEGEND LINDA THOMPSON, THE ALBUM IS AS DIVERSE AND BRILLIANT AS WE HAVE COME TO EXPECT FROM AN LP FROM THE LEGENDARY GROUP.
BUT YOU DON'T HAVE TO WAIT UNTIL JULY TO GET A TASTE OF THINGS TO COME - DOWNLOAD NEW TRACK 'URBAN GUERILLA' FOR FREE RIGHT HERE, RIGHT NOW...
Joined: Sun Oct 17, 2004 5:25 pm Posts: 35180 Location: Brasil Gender: Male
leaked (with 2 japanese bonus tracks)
this a review from uncut
PRIMAL SCREAM - BEAUTIFUL FUTURE - 3* "It’s too blunt, messy and reverent to be up there with their best, but you hope that it also serves a secondary function: to clear the decks for one last magnificent tilt at rock deification on album number ten," says Uncut's Sam Richards. Check out the review here. Then let us know what you think of Gillespie's latest.
Quote:
Received wisdom has it that there are two types of Primal Scream LP. There’s the joyously shameless cod blues boogie-down: whores whoring, dealers dealing (largely coke, you assume), lyrical clichés reassembled at random from Exile On Main Street, and a heroic attempt to will themselves into the rock’n’roll canon by sheer number of former Muscle Shoals players they can squeeze into the studio (see Primal Scream, Give Out But Don’t Give Up and 2006’s Riot City Blues).
Then there’s the accidentally era-defining sonic epiphany, on which Primal Scream are galvanised by the presence of a mercurial outsider to transcend their obvious limitations, apparently in defiant response to the derision usually heaped upon them when they deliver the first type of LP (see Screamadelica and XTRMNTR).
But there is a third type of Primal Scream album, often overlooked when constructing a convenient career graph of sublime-to-ridiculous flip-flopping, of which 1997’s Vanishing Point and 2002’s Evil Heat are examples, along with this latest effort, their ninth. Arguably, these transitional albums – buoyant, eclectic, groove-driven, liberally sprinkled with guest appearances and cover versions – give the truest indication of who Primal Scream really are.
If there’s one characteristic that defines Primal Scream, it’s Bobby Gillespie’s unshakeable conviction, however contrary his decision-making. It’s hard to imagine, for instance, the grizzled garage-rock guerrilla hearing Peter, Bjorn & John’s “Young Folks” and thinking, ‘Those fey shuffling drums and whistling solos are exactly what we need on our next record!’ Yet after initiating the recording process in Chalk Farm, the band decamped to Bjorn Yttling’s Stockholm studio in an attempt to mainline some of that Swedish pop magic.
At least it meant drummer Darrin Mooney got to play the same marimba Abba used on “Mamma Mia”, which he hammers with barely-suppressed glee throughout the title track. “Beautiful Future” is one of those boot-stomping, rabble-rousing anthems Primal Scream do so well, its ebullient mood only checked when you realise Bobby Gillespie is singing about “burning cars” and “naked bodies hanging from the trees”. You have to conclude he’s one of those people who’s only happy when it riots.
Cheerful plagiarism has always been another Primal Scream trademark, the band correctly assuming that if they steal brazenly enough, and with sufficient gusto, they’ll usually be indulged. As ever, the clue is often in the title: the impressively slinky “Uptown” is indebted to Prince’s song of the same name, while “Zombie Man” bears more than a passing resemblance to “Robot Man” by ex-Beta Banders The Aliens. Who cares, though, really? The latter’s exhilarating gospel chorus, a throwback to “Movin’ On Up”, is a dizzy highlight. The motorik throb of returns on “Suicide Bomb” (Gillespie just couldn’t resist) and the virulent Josh Homme team-up “Viva”, although Primal Scream never forage quite as intensively as peers Spiritualized through the same set of influences.
“I Love To Hurt (You Love To Be Hurt)” – featuring Lovefoxx from CSS – is an intriguing little confection but, as with Kate Moss on “Some Velvet Morning”, Gillespie has made the mistake of duetting with a female singer whose voice is even more flimsy and childlike than his own. As a result, they both vanish into a breathy void. He fares better with unlikely ally Linda Thompson on a gorgeous cover of Fleetwood Mac’s “Over & Over”. It’s the best thing here, which means it also serves to point up the comparative crudeness of some of the Scream’s own songwriting.
is in many ways the ultimate Primal Scream album, a thumping, energetic regurgitation of all their usual influences that will sound terrific live. It’s too blunt, messy and reverent to be up there with their best, but you hope that it also serves a secondary function: to clear the decks for one last magnificent tilt at rock deification on album number ten.
_________________ need you, dream you, find you, taste you, fuck you, use you, scar you, break you, lose me, hate me, smash me, erase me, kill me....
The only reason why I might check the song out is because it features Josh. I have no idea what Primal Scream are like other than a terrible song that was on GTA San Andreas. It was easily the worst song on the radio station it was on.
Joined: Sun Oct 17, 2004 5:25 pm Posts: 35180 Location: Brasil Gender: Male
*****
Caspar Llewellyn Smith Sunday July 13, 2008 The Observer
It is a thin line that separates authentic rock'n'roll behaviour from pantomime imitation and it's a line that Primal Scream have tottered along for the better part of 25 years. And if you've decided to squeeze into a pair of leather strides meant for someone half your age, that walk is even harder. The potential for comedy - a banana skin moment - is all too apparent.
So it is especially curious, perhaps, that the latest edition of Q magazine finds Bobby Gillespie posing with Russell Brand (an image eerily reminiscent of that same comic posing with Keith Richards on the cover of OMM36), with the two locked in debate about their Dionysian credentials. Except Gillespie is painfully uncomfortable, answering the question 'What does rock'n'roll mean to you?' by demurring: 'I dunno. Whatever I say's gonna sound fucking ridiculous.'
Article continues 'Fucking ridiculous' is an adjectival phrase that could well be attached to this ninth Scream studio album. Gillespie's lyrics have always invited scrutiny and the opening title track scarcely disappoints in this area: 'Take a ride in this city and tell me, what do you see?' he sings. 'Empty houses, burning cars, naked bodies hanging from the trees...' Those who write into Heat magazine saying that they've seen Bob walking his children (named Wolf and Lux) to the park in north London might need an education in the concept of poetic licence. Unless of course later lines - 'Are you heading for the gas chamber?.... Got a noose if you want to hang around...' - are meant for them.
Still, the track itself is a saccharine confection, the sound of Primal Scream going pop again. Few bands are so adept at blasting out high octane rock'n'roll and the band's canon is littered with classics from 'Rocks' (from the generally derided Give Out But Don't Give Up) onwards. The second track, 'Can't Go Back' (with the preposterous lyric 'I stuck a needle in my arm, I stuck it in my baby's heart, she looked so hot and sexy...'), falls within that tradition. Likewise the moody 'I Love to Hurt (You Love to Be Hurt)', with guest vocals from Lovefoxxx of CSS, which calls to mind previous darker psychedelic numbers. And few Primal Scream albums are complete without a ballad, in this instance a gorgeous cover of Fleetwood Mac's 'Over & Over' (no, me neither) featuring a duet with Linda Thompson.
So far, so much the case that it's only rock'n'roll, but I like it. But if the view that each Primal Scream album is modelled on a different Rolling Stones LP holds true, then Beautiful Future could be their Some Girls, the point at which a bunch of rockin' renegades (re-)discover something akin to disco. So allied to other stompers like 'Necro Hex Blues' and the plainly daft 'Zombie Man' are cuts such as the title track, 'Glory of Love' and 'Uptown'.
This last could be one of Primal Scream's greatest moments. Of course you feel as if you can see where the disparate elements come from: there's the attitude of Patti Smith's 'Piss Factory'; some of the E'd up vibe of Spacemen 3's 'Big City'; a bassline that Mani might well have borrowed from Neil Young's 'Dirty Old Man'; a nod to Althea and Donna in the title.
In its own way, it's derivative, and also a touch silly, inviting the image of Gillespie, Innes, Duffy and co cramming themselves into a Mini in the search for nocturnal kicks, when they should be in bed with a Horlicks. And yet and yet... its hedonistic groove carries everything before it, and reminds you that 'rock'n'roll' doesn't just signify a sound (and fury), it signifies an attitude towards risk taking.
Beautiful Future sees Primal Scream still daring to live the life. Funny? Only to some.
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