Primal Scream

Come Ahead - Released 08-NOV-2024 on BMG

Primal Scream's new album 'Come Ahead' might have taken eight years to surface, but Bobby Gillespie certainly wasn't resting on his laurels during that time. His memoir received warm acclaim, and he also teamed up with Jehnny Beth for a striking set of duets. But this 12th Primal Scream album wasn't always on the cards. Producer David Holmes started sending Gillespie rhythm tracks, and slowly the shape of 'Come Ahead' began to emerge. The result? A richly orchestrated, lavish dive into gospel-infused Philly soul, with hints of swaggering disco funk and some sharp political commentary thrown in for good measure.

Holmes' production is the perfect engine for Gillespie's sonic vision. The album feels like it could play out in the cool, neon-lit corners of a 1970s roller disco. Yet it remains a deeply personal project for Gillespie. The opener, 'Ready to Go Home,' is a poignant reflection on mortality—a track he wrote for his father as he lay dying in hospital. The choir’s opening refrain, "When my time finally comes, I’ll be ready," cuts to the heart of this sentiment. The album’s cover also features Gillespie Sr, a photo from 1960 that provides a visual touchstone for much of the album's lyrical reflection on family, history, and social justice.

It’s not all introspection, though. Gillespie still knows how to lay down a groove, and 'Come Ahead' has its share of dancefloor euphoria. 'Love Insurrection,' with its unmistakable 'Screamadelica'-era rhythmic shuffle, offers Nile Rodgers-esque guitar riffery courtesy of Andrew Innes, while Gillespie preaches a hopeful message for the future—"as sure as the sun will rise tomorrow morning, so will the children of the future." Even amid a world that seems to be sliding backwards, there’s still hope, as Gillespie channels a Marvin Gaye-style prophecy for these uncertain times.

The political edge comes through even sharper on tracks like 'Innocent Money' and 'Settlers Blues.' The former brings a Glaswegian bite to its protest against the UK’s widening divide, name-checking Buckingham Palace and "imperial nostalgia" with a mix of anger and danceable energy. The latter—a Morricone-tinged mini-epic—closes the album by skewering colonialism, drawing not-so-subtle references to Ireland and Palestine, with a dash of Beatles-esque tension.

Despite the album's mix of disco, soul, and introspective lyrics, it's not without its occasional missteps. Tracks like 'Heal Yourself' and 'Melancholy Man' sometimes feel like they’re dragging their feet, and the album could use a few more punchy peaks to match its ambitious scope. That said, when 'Come Ahead' gets it right, it’s classic Primal Scream—full of the punk spirit, funk swagger, and heartfelt introspection that have defined their best work. It’s an album that dares you to dance through the chaos, bringing a bit of glitterball light to some pretty dark times.