SONY 508923; SONY - Italia; Pop Internazionale Amazon.co.uk It may sound like a soundclash conceived by graphic designers in Hoxton, but Primal Scream?s Evil Heat is oddly fantastic. The plot this time is to streamline the massive sounds of 2000's superb Xtrmntr, and to combine two currently potent genres: raw, sexually charged electro and raw, sexually charged rock'n'roll. The key, as ever with Primal Scream, is their collaborators. Hence old mucker Andy Weatherall returns to the fold and turns "Autobahn 66" into a beautiful motorik meditation that simultaneously recalls their own Screamadelicaand the autobahn fantasies of Krautrockers . Meanwhile, 's genius leader Kevin Shields feeds most of the other tracks through his disorientation and distortion effects deck, so that even the most rudimentary New York punkers like "Skull X" and "City" sound originally twisted rather than mere homages. In the midst of it all there's Gillespie, posing like fury, yelping the received wisdom of a thousand dirty rock biogs, far more camp than he can possibly conceive. But Evil Heat, perhaps accidentally, captures the paradox at the heart of truly great rock'n'roll: that the old myths and ideas can still be reinvented, sometimes as comedy, sometimes as revolution, sometimes as both simultaneously.--John Mulvey Review 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. --Jules Willis This link will take you off Amazon in a new window