TICKETS NOW ON SALE
or Box Office 01624 600555
Some 8 years in the chasing and we’ve finally persuaded this iconic Scottish phenomenon that is PRIMAL SCREAM to perform at the VILLA MARINA.
TICKETS NOW ON SALE CLICK HERE or Box Office 01624 600555
Formed in 1984 and winners of the first ever Mercury Music Prize for 1991’s ‘Screamadelica’, Primal Scream have influenced a generation of fans over their 20 year career. Fronted by former Jesus & Mary Chain’s Bobby Gillespie with Andrew Innes (guitar), Darrin Mooney (drums), ex-Felt keyboardist Martin Duffy (keyboards) and Stone Roses bass guitarist Gary ‘Mani’ Mounfield, they signed to Alan McGee’s Creation Records in 1985 and the rest is history.
Beginning a career that has spanned eighteen hit singles, the band’s 1987 debut LP ‘Sonic Flower Groove’ was influenced by The Byrds, Velvet Underground and the C86 scene. Not only did it publicly introduce the band, but it also set the tone for a musical style that would define the following decade and pave the way for bands like The Stone Roses and The Happy Mondays.
Their follow-up album ‘Primal Scream’ witnessed a musical progression for the band, but it was 1991’s Mercury Music Prize winning ‘Screamadelica’ that became their landmark release. A tour de force produced by Andrew Weatherall, Hugo Nicholson and former Stones producer
Jimmy Miller, it changed the face of British pop music with its kaleidoscopic fusion of dance, dub, techno, acid house and rock, putting Primal Scream at the top of their game.
They returned in 1994 with ‘Give Out but Don’t Give Up’ which was recorded in Nashville and featured the hit single ‘Rocks’, but with 1997’s ‘Vanishing Point’ they created a more complex dynamic of the indie allure which characterised their debut release, re-establishing the group as a major force in British rock.
Two Top Ten albums followed – ‘XTRMNTR’ and ‘Evil Heat’ in 2000 and 2002 respectively – boasting a greater electronic feel and new musical direction for the band. In 2003 they released their ‘Dirty Hits’ collection, a retrospective of their career to date.
In 2006 they returned with ‘Riot City Blues’ and the Top Ten track ‘Country Girl’ – the band’s highest-ever charting single. Laid down live on the studio floor at London’s Olympic Studios, it was produced by Youth and features and impressive supporting cast – Will Sergeant from Echo & The Bunnymen, Warren Ellis of Nick cave & The Bad Seeds and Alison Mosshart from The Kills. A triumphant UK tour followed in November 2006, which included two sell-out dates at London’s Brixton Academy.
Bestowed with NME’s Godlike Genius Award in March 2007, Primal Scream continued their most successful era to date by signing with the highly successful independent label B-Unique, home to Kaiser Chiefs, The Automatic, The Twang and The Ordinary Boys.
2008’s ‘Beautiful Future’ was Primal Scream’s ninth studio album and their first for B-Unique. The bulk of the album was produced by Björn Yttling [Peter, Björn and John] and Paul Epworth (Bloc Party) including the incredible first single ‘Can’t Go Back’.
The album featured guest collaborations from Lovefoxx of CSS, Josh Homme from Queens Of the Stone Age and folk legend Linda Thompson. As you would expect from one of Britain’s most exciting and inventive bands ‘Beautiful Future’ displays a heady mix of genre crunching taking in Philly soul, dark electro, accelerated rock ‘n’ roll riffs and pure British pop, all given that particular Scream edge.
Primal Scream’s later album, ‘More Light’, released May 13th on their own First International label through Ignition Records,was the band’s tenth studio album. It was recorded in London and Los Angeles during 2012 and was produced by David Holmes.
The album is another twist in the band’s history, recorded after their recent successful worldwide tour of their hit album ‘Screamadelica’. Like ‘Screamadelica’, ‘More Light’ presents a musical state that lacks boundaries.
Gillespie explains: “The sense of space in the ‘Screamadelica’ gigs and the arrangements in the music had a wee bit of an effect in this. For
the last few years we’ve been playing high energy, two guitar rock ‘n’ roll, and I think doing the ‘Screamadelica’ shows, we were on the way to doing something more spacious and free form, but I think that helped as well just the sense of space, some of this is quite epic sounding.”
The title of Primal Scream’s 11th album might sound like something band leader Bobby Gillespie dreamt up while under the influence, but ‘Chaosmosis’ is actually a highfalutin reference to French psychotherapist Félix Guattari. His 1992 book of the same name argues human subjectivity is shaped by phenomena outside the “faculties of the soul”, specifically language, mass media and technology. Applying that idea to these songs is an almighty stretch, but more pertinent is Gillespie’s own definition of the word as wisdom gleaned from madness – and ‘madness’ is surely how the Primal Scream of yore would’ve dismissed the notion of making a record about sobriety and recovery.
Back in 2013, as the band’s late-career renaissance was getting underway with ‘More Light’, a newly abstinent Gillespie confessed that drink and drugs had “put my life in chaos” and the music had suffered for it. ‘More Light’ turned out to be the Scream’s best, most intrepid work since 2000’s ‘XTRMNTR’, but while ‘Chaosmosis’ is a worthy successor, it’s a very different beast. Where the former opened with the nine-minute jazz-rock apoplexy of ‘2013’, the latter does so on the melon-twisting exuberance of ‘Trippin’ On Your Love’, which borrows the piano riff from Happy Mondays’ ‘Step On’ and features Haim as a kind of six-legged Rowetta surrogate. Not for the first time, you’ll want some of what Bobby’s having.
Then again, maybe not. Instead of projecting its ire outwards, ‘Chaosmosis’ frequently gazes inwards. ‘Where The Light Gets In’, a pulsing electropop duet with Sky Ferreira, might declare that “peace begins within” but it’s also a place where uncomfortable truths present themselves, as they do on the self-excoriating ‘(Feeling Like A) Demon Again’ or ‘Carnival Of Fools’. It’s strange to hear Gillespie’s famously acidic tongue turned upon itself on ‘Private Wars’ (“Thorns grow in your heart/ Poisoned from the start/ Angry still at everyone/ Time to let it go”), while a breathy backing vocal from Rachel Zeffira (best known for Cat’s Eyes, her project with Horrors frontman Faris Badwan) needles away like the better angel of his nature. Over the course of a 35-year career defined by excess, reinvention and the occasional brush with genius, Primal Scream have made all sorts of albums, but not one quite like this.
Whatever you recall of this band they still sound and play as fresh and are
one of the mainstays headlining festivals throughout the world.
Triskel Promotions are very proud to finally secure them and plan to
make this a legendary visit for the band.
More info at www.primalscream.net