UPC: 8713748982386
Format: LP
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Primal Scream: Bobby Gillespie, Robert Young, Andrew Innes, Martin Duffy, Gary "Mani" Mounfield, Paul Mulreany.
Additional personnel: Ian Dixon (bass clarinet); Paul Harte (harmonica, synthesizer); Jim Hunt (saxophone); Duncan MacKay (trumpet); Augustus Pablo (melodica); Marco Nelson, Glen Matlock (bass); Pandit Dinesh (tabla).
The Memphis Horns: Wayne Jackson (trumpet); Andrew Love (saxophone).
Producers: Brendan Lynch, Primal Scream, Andrew Weatherall.
After fully exploring their EXILE-era Stones fetish on GIVE OUT BUT DON'T GIVE IN, Primal Scream's fourth album, VANISHING POINT, picks up where 1991's epochal SCREAMADELICA left off. Once more, our heroes are on a quest to marry their post-Madchester garage groove to a perversely diverse electronic soundscape. On "Kowalski," multiple bass lines rumble down the highway alongside Can-like tribal percussion, as Bobby Gillespie whispers non-sequitirs about a disappeared race-car driver. On "Star," a discourse on the modern cult of personality is bathed in wind-swept ambient pulses and Augustus Pablo's melodica, and punctuated by The Memphis Horns.
But the greatest of Primal Scream's gains come on the instrumental pieces. "If They Move, Kill 'Em" rocks on the shoulders of a wah-wah guitar and a thumping hip-hop beat, while an acid-house bass line, feisty brass section and sitar send a myriad of culturally diverse chills up the listener's spine. Throughout, VANISHING POINT is full of minor-but-miraculous sonic asides that make it a ride worth taking, as close to a perfect electronica-rock marriage as anyone's yet achieved.
Additional personnel: Ian Dixon (bass clarinet); Paul Harte (harmonica, synthesizer); Jim Hunt (saxophone); Duncan MacKay (trumpet); Augustus Pablo (melodica); Marco Nelson, Glen Matlock (bass); Pandit Dinesh (tabla).
The Memphis Horns: Wayne Jackson (trumpet); Andrew Love (saxophone).
Producers: Brendan Lynch, Primal Scream, Andrew Weatherall.
After fully exploring their EXILE-era Stones fetish on GIVE OUT BUT DON'T GIVE IN, Primal Scream's fourth album, VANISHING POINT, picks up where 1991's epochal SCREAMADELICA left off. Once more, our heroes are on a quest to marry their post-Madchester garage groove to a perversely diverse electronic soundscape. On "Kowalski," multiple bass lines rumble down the highway alongside Can-like tribal percussion, as Bobby Gillespie whispers non-sequitirs about a disappeared race-car driver. On "Star," a discourse on the modern cult of personality is bathed in wind-swept ambient pulses and Augustus Pablo's melodica, and punctuated by The Memphis Horns.
But the greatest of Primal Scream's gains come on the instrumental pieces. "If They Move, Kill 'Em" rocks on the shoulders of a wah-wah guitar and a thumping hip-hop beat, while an acid-house bass line, feisty brass section and sitar send a myriad of culturally diverse chills up the listener's spine. Throughout, VANISHING POINT is full of minor-but-miraculous sonic asides that make it a ride worth taking, as close to a perfect electronica-rock marriage as anyone's yet achieved.