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on 4 September 2017
Great disc
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on 10 April 2016
Pretty good! ****
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on 18 January 2014
Already had most of their records but bought this after seeing them live in Brixton Academy last December.A stripped down sound,some Kraut rock influences,and some graet rock out tracks as usual.Right up there with their best recordings.A fantastic band on top form.
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on 11 September 2016
Excellent album, toned down version of Exterminator.
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on 9 May 2013
After a series of outstanding albums releases throughout the nineties, Primal Scream were always destined to come back to earth with a bump.
Which is when we arrived at "Evil Heat", featuring this time a crunchy dance/rock sound (PS have never been afraid of rocking the boat when decided the musical direction of their records). But a lot of the tracks on the record are quite samey, with a slightly burnt out atmosphere over-shadowing the music.
If this had been Primal Scream's debut release it would have been classed as promising, but because of the quality of their back-catalogue its only an average album (although admittedly it has grown of me a little over the years).
But you do get Robert Plant playing harmonica on one the tracks, which is nice.
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on 6 August 2002
Primal Screams new offering is actually less compromised than 1999’s Xtmnr. Xtrmnr, far from being compromised itself, offered slight relief by being flawed towards its closure. The inclusion of 2 remixes, (one of which was by Chemical Brothers and sounded as if it belonged on Surrender rather than a Primal Scream album) an awful baggy style number which went nowhere (Insect Royalty) and a ballad which was a little dull (Keep Your Dreams) meant that the album trailed off and failed to match the raw intensity of the first 6 tracks (luckily, awesome finale Shoot Speed Kill Light stopped it from being a complete failure). In terms of this continuity, Evil Heat is a vast improvement, and sounds far more complete.
There is nothing on here that really matches those first 6 tracks (and its final track) but there are echoes of them to be found here; the hyped up guitar battering of Accelerator (City, Skull x), the fuzz bass of Exterminator (Some Velvet Morning, featuring kate moss who is actually very good), and the adrenaline rush of the first and proper mix of Swastika Eyes (Miss Lucifer, nowhere near as good as Swastika Eyes but is still a Jagz Kooner production, so they are similar).
Elsewhere we get warped psychedilia (Deep Hit of Morning Sun), the overrated 'krautrock' of Autobahn 66 (I was honestly expecting this to be special and its not) a track that sounds like Garbage, and Babylon Zoo(!) (Detroit), a very aggressive punk anthem about ‘collateral damage’, and ‘taxes’ (Rise, a raw version of Pills) a very funny wonky blues number called Lord is My Shotgun (great when your drunk), and A Scanner Darkly, a peculiar number that sounds as if its going to be one of those dark, brooding instrumentals but turns into a quirky 80s style melody that sounds like Cat Stevens ‘Is Dog a Doughnut’ or something off McCartney 2. Final track Space Blues #2 is one of those tracks that is included just to make an album sound complete and is hardly a classic in it’s own right (yep, plenty of them around these days).
Each and every Primal Scream album thus far has captured a certain essence and spirit (lets forget about Sonic Flower Groove for now). Screamadelica was a reminder of those crazy acid days when people rediscovered dancing, Give Out But Don’t Give Up had stadium retro rock and roll plastered all over it, Vanishing Point had a road movie concept going for it (in dub!) and the aforementioned Xtrmnr became one of those rare monumental albums that told us how the youth are effected by cruel political movements. Evil Heat is a less compromised album because there’s little to relate to here, it’s just a downright dirty, claustrophobic, sleazy and intense selection of songs that offers little form of light relief, because its so twistedly engaging from start to finish that you cannot press stop on your CD player. This album captures the essence of pure, undiluted rock and roll rebellion better than any other album in a while, and in doing this Primal Scream have once again excelled themselves as the masters of truely great, exciting and uncompromised music.
7 people found this helpful
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on 7 August 2002
Try wiring your stereo up to a microwave oven and then play a combination of Can, The Stooges, Suicide, The Doors, Kraftwerk and Sigue Sigue Sputnik (!?!) and you'll really get some 'Evil Heat'. This is one of the most disturbing albums I've ever heard -from the jarring stylistic leaps to the actual lyrics themselves ('genetically engineered ultra violence'!) but it all somehow works. As always with The Scream there are some duffers ('Detroit' sounds like the Cd player is busted)but they're cancelled out by the corkers - City, Autobahn 66, Rise, SkullX.
Kev Shields does his customary jet engine production job on the rockin' numbers while Weatherall brings the mellow drugs with him. I imagine a lot of people will be put-off by the electro-throb pulse of the whole album but this isn't Dead or Alive, this is the sound of absolutely right now filtered through paranoid sci-fi fantasies and soft porn fever dreams.
Screamadelica seems a long time ago now and really is no longer relevant. Time to trade it in for this instead.
11 people found this helpful
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VINE VOICEon 10 October 2002
Neither as evil, nor as hot as they'd have you believe, the Scream try to marry the layered sound textures of "Exterminator" with the earlier rock posturing "Give Out But Don't Give Up" to create some kind of throbbing postmodern beast. The trouble is, for all their apparent love of electro pioneers like Kraftwerk, Can etc and the sexy swagger of vintage Rolling Stones and Iggy Pop, they are not particularly convincing at either. Kevin Shields has brought some depth to their sonic flower groove and Mani gives them a flexibility they lacked even at the moment of their greatest commercial success, "Screamadelica", (which the passing years have exposed as a triumph of production over content). But the rebellious outsider stance looks contrived and the politics sound trite. They may really mean it, man, but they don't look or sound as if they do. Bobby Gillespie is also one of the least convincing front men of any band to have lasted beyond closing time at the local pub. His thin whines fights a losing battle with the burbling synths and droning guitars, and he exudes all the charisma of a "Stars in their Eyes" also ran. "Tonight, Matthew, I will be Mick Jagger." In your dreams! When Primal Scream emerged in the mid-eighties they were The Monkees with attitude, now they have become The Sweet with sequencers.
One person found this helpful
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on 7 March 2017
Its got RISE on it, end of story
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on 10 November 2006
The ambient, haunting opening track `Deep Hit of Morning Sun' is packed with buzzes and crackles, building tension for Primal Scream to kick in with the Electronica Rock they are now renowned for. That is exactly what happens when the black dancefloor anthem `Miss Lucifer' bursts out.

It is a curious and particular formula that was used in the previous album but still works. Except this time more punk has trickled into the beats and the guitar. The chanting, loose vocals and the chainsaw guitars that have a painfully sharp edge that permanently compete for attention shows this work has taken much influence from punk rock groups of the 70s.

A thin boundary lay in Primal Screams' work: is it pretentious or not? `Some Velvet Morning' is the case in question, where Kate Moss and her extremely airy vocals breeze over the synths and rumbles and distant crunches, whilst the question buzzes round your head.

It is laced with delicate and diverse sounds that make the overall sound very layered, whilst the riffs are almost 12 bar blues or classic rock n roll, except - like bands such as Add N to X - the riff is rarely played on what sounds like a guitar. Rock is hidden behind the sounds of dance - it is predominantly Iggy and The Stooges playing with robots.
One person found this helpful
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