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 the MC5.nnAs the '80s drew to a close, Britain's underground music scene was dominated by the burgeoning acid house scene. After the band rejected the initial version recorded with Stephen Street, they re-recorded it with Mayo Thompson, and the record was finally released in 1987 on Creation subsidiary Elevation. The band's debut, Sonic Flower Groove, fit into the C-86 sound. 'Velocity Girl,' a rush of jangly guitars, was a B-side that wound up on NME's C-86 cassette compilation, a collection of underground pop groups that defined the U.K.'s mid-'80s indie pop scene. However, the band didn't really take off until the middle of 1986, when Gillespie left the Mary Chain and guitarists Andrew Innes and Robert Young joined the band. The band signed to Creation in 1985, and over the next year they released a pair of singles. This abrupt switch in sound established a pattern the band would follow for the rest of their career, where they'd pursue a different direction from a subsequent album, but the twin releases of 1997's heady dance album Vanishing Point and its experimental successor XTRMNTR pushed the group back into the underground, where they'd concentrate on making art-pop on such albums as 2006's Riot City Blues and 2013's More Light.nn On its initial releases, Primal Scream was a group of '60s revivalists crafting hooky, guitar-driven pop songs. Primal Scream confounded expectations with Give Out But Don't Give Up, the 1994 sequel to Screamadelica which abandoned dance for classic rock boogie.

Screamadelica's fusion of indie pop and dance broke down musical boundaries and changed the face of British pop music in the '90s, helping to make dance and techno acceptable to the rock mainstream. Scream signed with Creation and cut Screamadelica with producers Andrew Weatherall and Hugo Nicholson.

in the mid-'80s, Gillespie abandoned the sound at the close of the '80s after being introduced to acid house by Alan McGee, the head of Creation Records. Primal Scream pursued a different kind of indie pop - one that was sweet and jangly, not dark and menacing - and while these early records were quite influential on the C-86 indie scene in the U.K. Bobby Gillespie formed the band in the mid-'80s while drumming for noise-pop pioneers the Jesus and Mary Chain. Primal Scream's career could in many ways be read as a microcosm of British indie rock in the '80s and '90s.

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