Veteran Glasgow rockers, The Primevals, have been hellbent for over 30 years in their quest to keep the heart of garage band rock’n’blues pumping, a task with which they have been spectacularly successful as they maintain their renaissance which began with 2011’s Disinhibitor after a fallow period at the beginning of the century. While their early contemporaries such as The Gun Club and The Cramps have gone the way of all things, Disinhibitor saw a revitalised band roar back into form and it was quickly followed by Heavy War and Tales Of Endless Bliss, both again superb slices of sound that, to coin a phrase, were groovetastic. Psychedelic swirls, evil slide guitar and hypnotic riffs all bundled into one very fine trip.
Dislocation is no disappointment as it sets its sights firmly on its antecedents with the band firing on all barrels. The twisting snarly slide guitar that kicks off the opening song Fever Zone serving notice that we’re back in Swampland on a classic Primevals’ song with singer Michael Rooney raving towards the end over the rushed beat and psychedelic organ. I Got Strong speeds along with a Seeds like velocity, the band pumping like adrenalized muscle tissue while Boho Baby is a Doors’ like seedy walk on a wild side, a vampish twilight zone of sputtering guitars and panther like stealth. All three songs are excellent and delivered with such a freewheeling ease that one imagines that the band and Rooney (who writes all the songs) could probably knock them off in their sleep, so ingrained in their musical DNA is this primal urge. However one of the delights of The Primevals is their ability to switch gears mid song, jump from garage rock to free jazz, localise a song or just freely associate and all of these come to play throughout the album.
East Campbell Street Breakdown opens with a brief lofi blaxploitation soundtrack soundalike before they go into a burnished speed riff not too far removed from Blue Oyster Cult as Rooney hones in on the plight of Glasgow’s homeless community. Cuckoo Clocks, Chocolate And LSD manages the task of wedding Orson Wells, Forrest Gump and Albert Hoffman in a paranoid welter of scrambled vocals and razor sharp guitar scything. Meanwhile The Jump From Real To Weird adds trumpet from Robert Henderson over a pummelling riff as Rooney riffs on the lyrics almost scatting. Throughout the album the guitars of Tom Rafferty and Martyn Roger slash and burn but it’s in the frenetic Pleasures Past that they really excel as, apart from a short solo burst from one of them, they buzz and swarm like a pack of hornets. Slow Drip (a Rooney/Rafferty co-write) allows Rooney’s harmonica to add a crazed Yardbirds like R’n’B frenzy to the middle eight over some neat wah wah guitar and they close the album with another co write (with Richard Mazda) on another mighty example of Primevals music, a huge slab of noise, the guitars feral with Rooney in the throes of spiders in his bed hallucinations.
All in all Dislocation blasts the cobwebs from your ears with the band again staking their claim to be the prime purveyors of swampy garage rock and the album is dedicated to the late Stewart Cruickshank who did so much to promote Scottish rock bands. The Primevals have an album launch gig this Friday at Glasgow’s Hug & Pint and it’s bound to be a great night of hi-octane sweaty rock’n’roll.