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Primal Scream's continued longevity, 22 years after the release of their masterpiece record Screamadelica, is something that must be admired. They've outlived many of their 90s contemporaries to remain one of the only British bands around to tirelessly stay true to the essence of rock 'n' roll.
The unveiling of the next chapter, 'More Light', is Primal Scream's 10th studio album and will be their first since the loss of their bassist of 17 years to The Stone Roses' reformation.
The record starts with an enormous statement of intent in the shape of nine-minute thriller, '2013'. Bobby Gillespie's disillusioned social commentary sits on a backdrop of punchy instrumentation that engages throughout. It's classic Scream.
Uncompromisingly, track two- 'River of Pain'- then comes in at seven minutes. Not as immediately catchy, it at first seems unremarkable, before meandering into a trip through dark psychedelia and an orchestral wall of sound.
The proceeding phase of the record harks back to another of Primal Scream's triumphs, 2000's 'XTRMNTR'. Gillespie again flirts with the kind of lyrical semantics that had some label him a hell-bound Satanist at the turn of the millennium.
'Hit Void' is a carefully layered song that dips its toe into kraut-rock while also triggering memories of the epic 'Shoot Speed/ Kill Light'.
The album drops down a gear when the stoner-rock bassline of 'Tenement Kid' arrives, but the track remains immersive enough to firmly keep hold of the listener's attention.
And if anyone claims they were at risk of drifting off they are brought straight back to earth with the spiky indie riff of 'Invisible City'. A spritely brass section keeps things ticking along and characterises a return that reminds us what a modern rock 'n' roll album should sound like.
The crooning soundtrack of 'Goodbye Johnny' is followed by another piece of abrasive guitar in 'Sideman'. Perhaps two of the album's weaker moments, but never in danger of downgrading what is (on the whole) an enthralling listen.
Blink and you'll miss a cameo from none other than Robert Plant on 'Elimination Blues', but the fact his contribution could easily go unnoticed on first listen is testament to the album's strength.
Its remainder exposes the listener to Primal Scream's trademark gospel-tinged rock. For long-time Scream fans, the last two tracks will transport them back to 1991, to what was dubbed 'the druggiest album of all time' by the NME two years ago.
'Walking With the Beast' is certainly the offspring of Screamadelica's come-down faze. Gillespie's atmospheric soul on the penultimate offering is the best he and his band have sounded for at least a decade.
The loss of Mani, ageing personnel, and a general depreciation of indie music over recent years may have led some cynics to profess Primal Scream were on their last legs. 'More Light' not only dispels that theory but blows it apart.
A truly impressive comeback album is capped off with the recent single that will provide the perfect soundtrack when Primal Scream take to the stage just before The Rolling Stones at Glastonbury next month...
'It's Alright, It's OK'- No, it's far better than that.
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