A seminal album underpinned by oscillating, pulsating electronica, it instigates a...
Jules Willis 2002
A bolt of high-voltage lightening hits Sony Music Studios in London as Bobby Gillespie's Primal Scream rehearse their first post-Creation album, Evil Heat, more diverse and melodic than its bilious brutal predecessor of 2000, xtrmntr. As lightening strikes, each member instantly atomises and becomes assimilated into their recording equipment, destined to play forever future rock n roll as an electronic garage band. A technological quantum leap from 1991's Screamadelica, the last Primal Scream album to alter the rock consciousness, the band play on regardless suddenly finding a genre-defining brand of electro-punk envisioning the shape of music to come.
Fresh and fizzing with a dehumanised, holographic energy, eclectic collaborations chequer the album. Ex-Bloody Valentine and Primal Scream regular Kevin Shields and the Jesus and Mary Chain's Jim Reid had a hand in, Andrew Weatherall (also responsible for Screamadelica with Terry Farley) again co-produces his two mixes, "Autobahn 66" and "A Scanner Darkly". Jagz Kooner produced the first single released from the album, "Miss Lucifer", and Martin Duffy closes the album with "Space Blues #2". Elsewhere Robert Plant is alleged to have played harmonica on "The Lord is My Shotgun" and Kate Moss duets with Gillespie on the Nancy Sinatra/Lee Hazlewood, "Some Velvet Morning" who describes her voice as really European, like a young Nico. "Detroit", a relentless Kraut-rock affair is followed by the pounding "Rise" attacking US foreign policy and formerly called "Bomb the Pentagon" pre-September 11th. Characterised by its undulating electronic bass riff it's one of the strongest tracks of the line-up.
A seminal album underpinned by oscillating, pulsating electronica, it instigates a futuristic brand of genetically engineered rock 'n' roll. A feverish Evil Heat at the core of a frenetic, liquefying, millennial rock that's about to blast onto the scene.