Primal Scream release ‘Ready To Go Home’ and ‘The Centre Cannot Hold’, two new songs taken from Come Ahead, the new studio album due for release on 8th November 2024.
At once completely fresh, exciting, and instantly Primal Scream, ‘Ready To Go Home’ is the album’s opening statement of intent.
Speaking about the song, Bobby Gillespie said: “It’s dark, but it’s also up, full of humour. After I wrote it, I sang it to my dad the night before he died. It was just me and him in the hospital. His body had given up. I think, when you get old and tired and your body just goes, ‘I’ve had enough. Time to go.’ I was trying to write about that feeling, I don’t know why – maybe I was feeling tired myself. Sometimes I do. When I wrote this song I was thinking, there must be a point in your life where you think, time to go home.”
The official music video for ‘Ready To Go Home’ is an extension of the Come Ahead album artwork. The artwork was created using a photograph of Bobby’s late father, Robert Gillespie Senior, by Turner Prize nominated artist Jim Lambie. Bobby’s father remains deeply respected for his lifelong commitment to campaigning for social justice, and themes of class run through Come Ahead. “There is a message of hope in the record,” says Bobby, “but it’s tempered with an acceptance of the worst side of human nature.”
‘Ready To Go Home’ is matched with a remix from UK house legend Terry Farley and Wade Teo. A dub version of the mix was released earlier this summer on a very limited edition white label 12”, today the full vocal mix is available digitally for the first time and arrives 34 years after Terry Farley first created the seminal ‘Loaded’ and ‘Come Together’ remixes for Primal Scream.
A second new song, ‘The Centre Cannot Hold’, is also released. Speaking about the track, Bobby Gillespie said: “I have no idea what inspired this song. Is it poking a withering finger at the “lifestyle” delusion? Is it a satire about the new religion of wellness? Well, the verses, at least. Is it a joyful mocking of lovers drowning in their own narcissism? Is it an attack on the extreme centre of political discourse? Or is it about the impossibility of truly knowing another person? We live behind so many masks.”
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