More Light

Editorial Reviews

All Music Guide
On their tenth studio album, More Light, Primal Scream tone down the gnarly rock & roll guitars and aggressive cut-and-paste they've been relying on as of late and instead indulge in their hippie psychedelic side, turning in a colorful forward-leaning collection of dance-inflected pop and rock, highlighted by the early singles "2013" and "It's Alright, It's OK.,"
All Music Guide - Stephen Thomas Erlewine
Primal Scream always refracted the past through the prism of the present, turning hero worship into something resembling high art. It wasn't always this way, not at the start, when they were part of the delicate, brittle C86 scene, nor was it ...
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Editorial Reviews

All Music Guide
On their tenth studio album, More Light, Primal Scream tone down the gnarly rock & roll guitars and aggressive cut-and-paste they've been relying on as of late and instead indulge in their hippie psychedelic side, turning in a colorful forward-leaning collection of dance-inflected pop and rock, highlighted by the early singles "2013" and "It's Alright, It's OK.,"
All Music Guide - Stephen Thomas Erlewine
Primal Scream always refracted the past through the prism of the present, turning hero worship into something resembling high art. It wasn't always this way, not at the start, when they were part of the delicate, brittle C86 scene, nor was it true when they exploded in a brilliant blast of acid house on Screamadelica. The art came later, after they halted their ascendency via the Stones-aping Give Out But Don't Give Up, a move that in retrospect seems to be an important final foundation within the construction of Primal Scream but at the time seemed odd, halting, flying in the face of Cool Britannia. Bobby Gillespie and crew rubbed shoulders with the fellow Creation labelmates Oasis but Primal Scream never belonged to Brit-pop; they dropped out and tuned in, dabbling with radical politics, dub, and free jazz, pursuing that path until they once again acted like a rock band on Riot City Blues, an album, like Give Out, that seems like a waystation that, along with 2008's rangier Beautiful Future, feels like a necessary detour for the group to refuel. More Light flaunts all of the benefits of their recharging. It is one of those odd Primal Scream albums where they pull it all together -- roping in the hard rock, free jazz, club beats, flowery psychedelia, the worship of the Stooges, and a devotion to avant-garde cinema -- building upon the past in an attempt to get closer to the future. Their own history is not exempt from examination: they flirt with the aggro aggression of XTRMNTR and Screamadelica's "Movin' on Up" is explicitly quoted on the closer, "It's Alright, It's OK." That tune is placed at the end of the album, concluding the album on a bit of a triumphant note, a tone that's rather appropriate for More Light. Primal Scream never shy away from darkness here, either in their lyrics or music, but More Light percolates with bright, incessant inventiveness, as if they are gripped by the tantalizing possibilities of their creations, and have yet to give up on the future, despite all the bleakness that surrounds them. Occasionally, that darkness creeps into view -- "Elimination Blues," with vocals from Robert Plant, churns its groove until there seems to be no escape; "Relativity" reaches a cacophonous crescendo, never slipping back to a comfort zone -- but what sticks with More Light is that sense of adventure, how it wrestles with the future by using the rules of the past. Maybe it's a losing game -- as the years slip by, situationist politics, avant-garde art, and psychedelic pop all fade from popular consciousness -- but the brilliant thing about More Light is how it suggests that the struggle itself is empowering.
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Product Details

  • Release Date: 6/18/2013
  • Label: Ingrooves
  • EAN: 5060342850010
  • Catalog Number: 003
  • Sales rank: 26,036

Tracks

Disc 1
  1. 1 2013 (9:01)
  2. 2 River Of Pain (7:00)
  3. 3 Culturecide (4:37)
  4. 4 Hit Void (4:14)
  5. 5 Tenement Kid (4:48)
  6. 6 Invisible City (4:43)
  7. 7 Goodbye Johnny (3:32)
  8. 8 Sideman (3:56)
  9. 9 Elimination Blues (5:48)
  10. 10 Turn Each Other Inside Out (4:38)
  11. 11 Relativity (7:31)
  12. 12 Walking With The Beast (4:00)
  13. 13 It’s Alright, It’s OK (5:11)
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Album Credits

Performance Credits
Primal Scream Primary Artist
Robert Plant Vocals
Mark Stewart Vocals
Marshall Allen Alto Saxophone
The Unloved Background Vocals
Fred Adams Trumpet
Martin Duffy Piano, Celeste, Wurlitzer, Hammond B3
Jason Falkner Synthesizer, Bass Guitar, Electric Guitar, 6-string bass
Bobby Gillespie Tambourine, Vocals, Background Vocals, Hand Clapping, Mellotron
Andrew Innes Dulcimer, Synthesizer, Acoustic Guitar, Guitar, Piano, Autoharp, Bass Guitar, Electric Guitar, Rhythm Guitar, 12-string Guitar, Mellotron, Electric Sitar, 6-string bass, Drones
Marco Nelson Bass Guitar
Kevin Shields Guitar
Steve Tavaglione Alto Saxophone, Tenor Saxophone
Jay Bellerose Drums
Woody Jackson Guitar, Emulator
Tracy Wannomae Alto Saxophone
Jim Hunt Flute, Saxophone
David Henderson Guitar
Sharlene Hector Background Vocals
Darrin Mooney Percussion, Drums
Barrie Cadogan Guitar, Background Vocals
Ladonna Harley Peters Background Vocals
Keefus Cianca Piano, Bells
Davey Chegwidden Percussion, Drums, Tom-Tom, Guiro
Danny Ray Thompson Baritone Saxophone
Todd Simon Trumpet
Noel Scott Alto Saxophone, Tenor Saxophone
Geo Gabriel Background Vocals
Technical Credits
Mark Stewart Composer, Whistle
Jason Falkner Engineer
Bobby Gillespie Composer
David Holmes Producer, Engineer
Andrew Innes Composer, Engineer
Sam Johnston Engineer
Brendan Lynch Engineer, Additional Production
David Meltzer Composer
Nicky Brown Vocal Arrangements
Woody Jackson Engineer, Orchestration
Valente Torrez Engineer
Paul Stanborough Engineer
Chris Kasych Pro-Tools
Eric Isip Engineer
Michael Harris Engineer
Masa Tsuzki Engineer
Lee Pierce Composer
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