In 1990, Andrew Weatherall and Terry Farley, two friends who co-founded the Boy’s Own fanzine – “Acid house’s village newspaper” – helped kickstart an “indie-rock / dance” crossover by remixing the Primal Scream song, I’m Losing More Than I’ll Ever Have. Rebranded as Loaded the track signposted the hedonistic post-Second Summer Of Love times, became an underground club anthem, then topped the UK pop charts. In the process revitalising the band, and for the next couple of years inspiring countless “imitators”. It was a long, long while before we could escape loud, fuck-off guitars wed to James Brown’s Funky Drummer or a Soul II Soul beat.

Prior to Weatherall co-producing Primal Scream’s subsequent Mercury Music Prize winning LP, Screamadelica, he and Farley also provided radical reworks of the group’s zeitgeist-capturing call for unity, Come Together. This was back in the daze when Bobby Gillespie and the band were popping capsules and pills like there was no tomorrow, and, more than a little loved-up, had their sights set on creating something beautiful.

Now nearly three and a half decades later Farley has returned to The Scream fray. Working with regular collaborator Wade Teo he’s transformed Ready To Go Home, a teaser lifted from the group’s forthcoming album, Come Ahead. Slipped out, sort of unannounced, just like Loaded, on a limited hand-stamped white label, the 12 starts with symphonic melancholy minor chords, which quickly surrender to clattering percussion, tumbling timbales, and congregation hand claps. The vocals are big, bluesy gospel hollers, a revival meeting call-and-response, the pounding pace-y, and the results, some righteous, relentless, raw, jacking acid house. A marriage of mad snares and a furious TB-303. A Green Velvet / Relief Records-esque conniption fit. Deranged, and designed to induce dance-floor delirium, it sounds like the pair have been to a fair few Paranoid London gigs.

*The Primals have also promo’d the album, due in the autumn, with a clip for another new song, Love Insurrection. Co-written and co-produced with David Holmes, it’s a passionate `70s soul homage. Wah-wah licked and highly – a la Philadelphia International – strung, featuring fluttering flute and punchy brass blasts, its funk rolls in a socially conscious stylee, recalling Willie Wright’s Right On For The Darkness.