Atanaria
Primal Scream’s Come Ahead is an ambitious but flawed attempt to reestablish the band’s relevance in a modern musical landscape. The album, originally intended as a solo project by frontman Bobby Gillespie, turned into a Primal Scream release when fellow original member Andrew Innes joined, possibly motivated by commercial factors. However, Come Ahead lacks the cohesion and creative energy that once characterized the band’s best work.
Gillespie’s lyrics, which take the lead here, are intended as biting critiques of social issues and personal introspections. Yet they often fall short, veering into cliché and lacking the lyrical depth that could elevate the album. Tracks like “Innocent Money” and “False Flags” aim to tackle serious themes—inequality, neoliberalism, and war—but the blunt and didactic approach ultimately feels more like social commentary stripped of nuance. Even producer David Holmes, who previously helped create the sonic depth of XTRMNTR and More Light, cannot lift the record beyond its limitations.
Musically, the album leans on formulaic structures. Although gospel choirs and woodwinds add texture, they can feel like an afterthought, as if compensating for lackluster melody and weak lyricism. The white-funk and Chic-inspired guitar elements lack the grit and punch that made Primal Scream’s earlier work feel urgent and provocative.
Ultimately, Come Ahead feels like a missed opportunity—an album that aspired to be a comeback, but was undermined by uneven writing, a reliance on musical tropes, and an absence of the experimental spirit that once defined the band’s best moments. Primal Scream’s fans might find glimpses of past glories, but for those expecting a return to form, this album may disappoint.
