Primal Scream – Chaosmosis Review
The latest release from Primal Scream, "Chaosmosis," hasn't received the best reception in history. While there are plans to delay its next album, "Come Ahead," it's important to appreciate "Chaosmosis" for its chaotic charm and delightful madness. The album took risks by envisioning collaborations with artists like HAIM and Sky Ferreira, despite being a project from a band known for their more apocalyptic themes. The debate on whether they were right or wrong about their approach in "XTRMNTR" isn't the main focus here; rather, "Chaosmosis" expresses that the more adventurous side of life is here to stay, encouraging us to embrace the chaos. Primal Scream continues to defy classification, fluidly moving beyond the boundaries of synth and rock to create vibrant beats reminiscent of the Madchester scene. Some tracks resonate better than others, but the core of this album revolves around repetition, which has always been a fundamental element for Primal Scream.
Songs like "Trippin' on Your Love" attempt to recapture the excitement of "Movin' on Up," but those moments of joy seem to be a thing of the past for the band. While HAIM adds a nice touch to the track, their contribution doesn't make much of an impact. Primal Scream has never been about conforming to a pop sound; their style has always gone beyond the need to stick to a specific genre—at least it did in their heyday. Albums like "XTRMNTR" set the standard. However, "Chaosmosis" has fallen short, trying to chase after what could be trendy or appealing. The result is an uninspired and lackluster effort. While Bobby Gillespie showcases genuine passion in his performances, it lacks the fierce energy that usually characterizes Primal Scream’s association with counter-culture. Instead, it feels more like a desperate attempt to fit into popular music trends, and it misses the mark. In "I Can Change," the band seems to be begging listeners to accept them, suggesting they can adapt to whatever we want them to be.
A band that tries to be everything to everyone is setting itself up for failure. Their vague emotional lyrics come off as uninspired, lacking a distinct style. "100% or Nothing" embodies a superficial type of pop optimism that seems motivational on the surface but lacks depth. This feeling of disappointment is especially notable after a series of intense highs. It was inevitable that things would go off the rails eventually, but the way it happened feels anticlimactic. Even though jumbled feelings can still be considered genuine passion, there’s a sense of disarray in "Chaosmosis." It holds emotion, but that emotion gets lost amid the inconsistencies in its sound. From the orchestral fierceness of the somber "Private Wars" to the strained pop vibes in the synth-driven "Where the Light Gets In," it's the inconsistencies that truly stand out as the main issue.
Primal Scream's latest release suffers from inconsistent pacing and a lack of compelling visuals. The direction feels unclear, and the songs lack appeal. They appear uncertain about how to approach a synthpop, chart-friendly album. Gillespie does have some remarkable lyrics for those willing to navigate through the bright, almost overwhelming pop sound, but it’s a challenging endeavor. Tracks like "Golden Rope" are worthwhile, yet their misguided attempts to tap into the pop trends of the mid-2010s end up being the album's main focus. It’s disappointing to see strong lyrics and energetic saxophone solos get overshadowed in this way, but Primal Scream has always adapted to the changing landscape of music. This constant evolution makes them both unpredictable and thrilling to listen to. Their missteps, at the very least, keep things interesting, and "Chaosmosis" is laden with them.
Chief Editor at Cult Following | Journalist covering news and culture for Clapper, Daily Star, NewcastleWorld, and Daily Mirror | Host of the podcast (Don't) Listen to This | Drawn to chaotic situations
