风 格：Acid Rock（酸性摇滚） Alternative Dance（另类舞曲） Alternative Pop/Rock（另类流行/摇滚） Club/Dance（舞曲） Electronica（电子） House（歌剧）
介 绍：
Primal Scream的经历可以用多方的角度来解读，就像80到90年代的英伦的独立摇滚乐一样。Bobby Gillespie在80年代的中期初创乐队，而那时他仍作为英国的另一只同Primal Scream音乐风格截然相反的噪音摇滚乐队the Jesus & Mary Chain 的鼓手。在经过一段时间的朋克硬摇滚风格的创作后，在90年代早期他们彻底转变为一只舞曲乐队。紧跟the Stone
Roses 和Happy Mondy对流行和Acid－house的融合。
1991年，在制作人Andrew Wertherall和Hugo Nicholson的协助下， Primal Scream创作了一张完全将独立流行乐和舞曲融合在一起的专辑《Screamdelica》。Screamdelica打破了90年代英伦流行乐的划定，并使舞曲和Techno被主流摇滚乐广泛接受。
代替这张专辑中所作的承诺，Primal Scream在其1994年的专辑《Give Out But Don’t Give Up》中回归到Stonesy boogie（一种音乐风格）。而这张专辑并未引起广泛的反响，于是在1997年的专辑《Vanishing Point》中他们又从拾Dance－Rock（舞曲摇滚风格），并使他们从新成为英伦摇滚的中坚力量。
Bobby Gillespie（主唱）在1984年成立Primal Scream。在其早期的创作中，Primal Scream显见是一只60年代音乐的复兴者，并且走得是流行吉他（Guitar－driven pop songs）的路线。
乐队在1985年同Creation唱片公司签约，并同时发行了两张单曲。然而，乐队并没引起注意。在1986年中的时候，当Gillespite离开the Mary Chain后，吉他手Andrew Innes，和Robert Young相继加入乐队。
"Velocity Girl," 是一首狂躁的歌，收录于一张名为《NME’S C86》的专辑（是一张地下流行乐队的合集）的B面。而这张合集正是80年代英伦独立流行乐坛的写照。乐队的第一张专辑名为《Sonic Flower Groove》，在乐队否决了同Stephen Street合作的最初版本后，他们和Mayo Thompson从新录制了该专辑并于1987最终发行。这张专辑很快被英国的独立群体所接受。而这张专辑以及接下来,他们在1989年发行的同名专辑《Primal Scream》中，处处弥漫着乐队受到的从the Rolling Stones 和 New York Dolls 到 the Stooges 和MC5的影响。
80年代，英伦的地下音乐已经被正处于萌芽的Acid－House所支配。Primal Scream也深深的被这种新兴的舞曲音乐所吸引。之后他们求助于他们的一个名叫Andrw Weatherall的DJ，从新混缩他们的一首老歌"I'm Losing More Than I'll Ever Have。" Weatherall从新打造个这首歌，在其中加入了沉重的贝斯并配了一部分雷鬼乐的回声，删除了原曲中的大部分的配器（甚至是吉他部分），之后从新加入一轨采样的音效（包括Peter Fonda的一段“the wild angle”的对白）。新的混音版本被命名为"Loaded," 并且取得了巨大的成功。
"Come Together," 是他们即将到来的第三张专辑的第一只单曲，同之前的那首"Loaded,"有着相同的曲风，并受到广泛的称赞。
为了他们的第三张专辑《Screamadelica》，Primal Scream不仅仅同Andrew Weatherall和Hugo Nicholson合作，而且还找来了the Orb和the Stone Roses早期的制作人Jimmy Miller。结果这张专辑的曲风五花八门，既包括舞曲的秘幻、Techno、Acid House还包括流行和摇滚的元素。该专辑于1991年的春季发行。《Screamadelica》使Techno和House成为90年代英伦流行乐得的主流。且同时为Primal Scream赢得巨大的成功。他们在1992正是凭着这张专辑获得了Mercury Music Prize（Mercury 音乐奖）。
而正当人们还在翘首期盼和猜测他们的下一张专辑会是什么样子的时候。他们却在1994年发行的专辑《Give Out But Don't Give Up》中出人意料的从拾70年代的硬摇滚之风。结果遭受到了巨大的失败。失败的原因不仅在于曲风的转变，更为重要的原因是损害了乐队作为摇滚革新者的名声。所以在他们为1996年那部名为《Trainspotting》著名的电影的配乐中，他们从新回到像《Screamadelica》那样的舞曲风格（只是略显深沉）。
之后，在1997年他们发行了《Vanishing Point》，今年又发行了《XTRMNTR》。
组建时间： 1984年
国 籍：英国
专 辑：
Evil Heat、Xtrmntr、Kowalski、Vanishing Point、Give Out But Don't Give Up、Screamadelica
Primal Screams career could in many ways be read as a microcosm of British indie rock in the 80s and 90s. Bobby Gillespie formed the band in the mid-80s while drumming for goth-tinged noise rockers the Jesus and Mary Chain, who were the exact opposite of Primal Scream — the latter specialized in infectious, jangly pop on its early records. After a brief detour to punky hard rock, the group reinvented itself as a dance band in the early 90s, following through on the pop and acid house fusions of the Stone Roses and Happy Mondays. With the assistance of producers Andrew Weatherall and Hugo Nicholson, Primal Scream created the ultimate indie pop and dance fusion album, Screamadelica, in 1991. Screamadelica broke down boundaries and changed the face of British pop music in the 90s, helping to make dance and techno acceptable to the rock mainstream. Instead of following through on the promise of the album, Primal Scream retreated to Stonesy boogie for their 1994 follow-up, Give Out but Dont Give Up. When that record was greeted with indifference, they returned to dance-rock fusions with 1997s Vanishing Point, which re-established the group as a major force in British rock.
Bobby Gillespie (vocals) formed Primal Scream in 1984, while still drumming for the Jesus and Mary Chain. On its initial releases, Primal Scream was a group of 60s revivalists, crafting hooky, guitar-driven pop songs. The band signed to Creation Records in 1985, and over the next year, they released a pair of singles. However, Primal Scream didnt really take off until the middle of 1986, when Gillespie left the Mary Chain and guitarists Andrew Innes and Robert Young joined the band. Velocity Girl, a rush of jangly guitars, was a B-side that wound up on NMEs C86 cassette compilation, a collection of underground pop groups that defined the U.K.s mid-80s indie pop scene. The bands debut, Sonic Flower Groove, fit into the C86 sound. After the band rejected the initial version recorded with Stephen Street, they re-recorded the album with Mayo Thompson, and the record was finally released in 1987 on the Creation subsidiary Elevation. The album was well received in the British indie community, as was its 1989 follow-up, Primal Scream, which demonstrated hard rock influences from the Rolling Stones and New York Dolls to the Stooges and MC5.
As the 80s drew to a close, Britains underground music scene became dominated by the burgeoning acid house scene. Primal Scream became fascinated with the new dance music, and they asked a friend, a DJ named Andrew Weatherall, to remix a track from Primal Scream, Im Losing More Than Ill Ever Have. Weatherall completely reworked the song, adding a heavy bass groove echoing dub reggae, deleting most of the original instrumentation (even the layers of guitars), and interjecting layers of samples, including lines of Peter Fondas dialogue from The Wild Angels. The new mix was retitled Loaded, and it became a sensation, bringing rock & roll to the dancefloor and dance to rock & rollers. Come Together, the first single from their forthcoming third album, was in much the same vein, and was similarly praised.
For their third album, Screamadelica, Primal Scream not only worked with Andrew Weatherall and Hugo Nicholson, the pair who essentially designed the sound of the album, but also the Orb and former Stones producer Jimmy Miller. The resulting album was a kaleidoscopic, neo-psychedelic fusion of dance, dub, techno, acid house, pop, and rock, and it was greeted with rapturous reviews in the U.K. Released in the spring of 1991, Screamadelica also marked an important moment in British pop in the 90s, helping to bring techno and house into the mainstream. The album was a massive success, winning the first Mercury Music Prize in 1992.
In the wake of the groundbreaking Screamadelica, most observers wondered what Primal Scream would do next, yet few would have predicted their retreat to 70s hard rock for Give Out But Dont Give Up. Released in 1994, the album was eagerly awaited, but its Stonesy hard rock was not well received, and it was a relative commercial failure. More importantly, it hurt the groups reputation as innovators, a situation they reacted to with the title track to the hit 1996 film Trainspotting. Primal Screams contribution to the soundtrack was a return to the dance stylings of Screamadelica, only darker. The band continued to work on their next album, entitled Vanishing Point, over the course of 1996, finally releasing it to enthusiastic reviews in the summer of 1997. The ultra-aggressive XTRMNTR followed in the spring of 2000. Two years later Primal Scream released Evil Heat, a guest-laden (even supermodel Kate Moss makes an appearance) album in line and on par with XTRMNTR, and in 2006 Riot City Blues came out.