Primal Scream: The Official After-Party

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    Mani (Primal Scream // The Stone Roses) plus special guest
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  • ThinkTank (formerly THE HUB) 100 meters from OLYMPIA Theatre 22 Eustace Street (Opossite Irish Film Institute) TO RESERVE your ADVANCE TICKETS Call 016707655 **** STRICTLY NO ADMISSION AFTER MIDNIGHT **** The new Venue THINKTANK features the exclusive PRIMAL SCREAM after show party, following the band's live appearance around the corner at OLYMPIA Theatre on 17th November 2008. This event will count with DJ set by the insatiable Primal Scream bass messiah and former Stone Rose, plus a special guest . Expect a soundtrack stuffed to the gills with The Scream's kaleidoscopic spectrum of musical influences - rock n roll, funk, acid house, minimal techno, punk rock, hip hop and all angles in between. Tickets are a priced at a paltry 10 euro and a convivial welcome awaits... Advance tickets for this gig can be purchased through the RiverHouse Hotel or at the door if still available. only 200 tickets on sale TO RESERVE your ADVANCE TICKETS Call 016707655 PRIMAL SCREAM ormed 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), Robert Young (guitar), 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. Since you ask, Beautiful Future is the name of the ninth studio album from Primal Scream. It is, as it happens, the first album Primal Scream have released through their new record label BUnique, and also the first album in the band's extraordinary 26 year history to feature the same marimba and piano that ABBA, no less, used on a string of their most memorable hit singles. Quite the Dickens how Primal Scream came to be tapping away on instruments once used by Sweden's pre-eminent musical icons is something Bobby Gillespie is only too happy to explain: "We did five songs for this album with Björn Yttling [from Peter, Björn and John] at Atlantis Studios in Stockholm. It's where ABBA recorded 'Dancing Queen' and 'Knowing Me, Knowing You'. And the marimba on one track that Darrin [Mooney, the drums] played was the same marimba as on 'Money, Money, Money' and 'SOS'. There's a one-note piano riff Martin Duffy [keyboards] plays, like 'I Wanna Be Your Dog', and that's the 'Dancing Queen' piano." Finding a route from The Stooges via ABBA is, of course, something you could only expect from Primal Scream, who clearly thrive when messing with received notions of rock'n'roll classicism, from Screamadelica's dub/House/psych E party to the drty vnt-rck thrlls of XTRMNTR. Beautiful Future promises more of that heady mix of genre-crunching, taking in Philly soul, dark electro, accelerated rock'n'roll riffs and pure British pop – although given that particular Scream edge. "If you hear this new record of ours from start to finish," explains Bobby, "and you hear all the different sounds and styles and moods, atmospheres and instrumentation that we use, it's different from the last record and different from the record before that. You know, there's not one set Primal Scream song where it's verse-bridge-chorus-middle-eight. But this album is more like a pop record, more like classic songwriting." Primal Scream began recording Beautiful Future in January 2007. "We've got our own studio in Chalk Farm. And very quickly, within two weeks, we started writing songs we considered good enough. The first single, "Can't Go Back", was one of the first songs we wrote. They come pretty quickly, when they started coming." 'Can't Go Back', produced by Paul Epworth (Bloc Party, The Rakes) is the kind of high energy rock'n'roll the band excel at, all kinetic drum beats and scuzzy guitar riffs, everything moving at methamphetamine rate. 'Uptown' sees the band tackling the Philly soul sound, privileging the rhythm section of Mooney and Mani, who've rarely sounded tighter. 'Glory Of Love' meanwhile, is delightful post-punk pop, complete with swooning strings and a chocolate box chorus. The band up the ante with 'Suicide Bomb', Andrew Innes' densely-layered guitar riffs coiling tightly round themselves, everything building to an impressively apocalyptic crescendo, Bobby screaming "I see the beauty in everything." 'Beautiful Summer' is something different again; a dark, melancholic track underscored by a haunting guitar signature and stately keyboard motif from Martin Duffy. 'Zombie Man' finds them throwing themselves into a euphoric glam stomp with fantastic calland- response chorus. Elsewhere, there's a duet with CSS' Lovefoxxx, 'I Love To Hurt (You Love To Be Hurt)' that's full of shivering electro pulses and tense, claustrophobic rhythms. Lovefoxx isn't the only guest to appear on the album. British folk icon Linda Thompson duets with Bobby on a beautiful cover of Fleetwood Mac's 'Over And Over" – up there with their take on Dennis Wilson's "Carry Me Home" as one the finest cover versions the band have ever recorded. Meanwhile, Queens Of The Stone Age's Josh Homme contributes guitar to the album's closing track, "Viva!". "When Queens Of The Stone Age were here in December, Josh had a night off and he came over to the studio and jammed," says Bobby. "We did a version of 'Fire Of Love', the Jody Reynolds' song. And then we had a live instrumental jam that we turned into a song. We kept Josh's guitar from the jam and wrote a song around it." Then there's the title track itself, possibly the most cheery song the band have ever written – jaunty pianos, hummable chorus, that kind of thing. Until you clock a listen to the lyrics and you realise Bobby is singing about "empty houses, burning cars, naked bodies hanging from the trees". Ah… "We do a lot of ecstatic stuff, 'Movin' On Up', 'Country Girl', we're good at ecstatic music. Not a lot of people are. But I think it's nice to have the lyrics being the way they are, kinda mocking and sarcastic, with that big, happy chorus." For a man who's been making music for over quarter of a century now, it's reassuring that Bobby still has passion for what he does. Considering, too, that Primal Scream have made some of the most thrilling and important records of the modern era, it's just as comforting to know that plans are being made for Primal Scream beyond Beautiful Future… "Already I'm thinking about the next record," says Bobby. "This has freed us up to do something else. We always try and find a new way of writing, use different instruments. Write rhythmically instead of melodically, but this time we've written melodically, so there's a lot of melody on the record, so that's different right away. The last record was more rock'n'roll, more bluesy. You've just got to do what you feel. I don't have any fears about what we can do next, because it's always exciting."
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