We've curbed the partying - Primal Scream interview

First in their display cabinet was NME's Godlike Genius Award, traditionally given to alternative heroes who might normally fly under the radar of the more mainstream award ceremonies. With this accolade, the Scream have joined a motley hall of fame that includes New Order, John Peel, Michael Eavis and Mark E Smith.

"I think we get things like that because we're still alive. They must go, 'Right, who's not dead yet? Ah, Primal Scream – they can have it this year'," quips bass player Mani, who may end up with double the laurels for his pre-Scream part in the epoch-defining Stone Roses.

Primal Scream were never the obvious candidates for longevity; they always seemed too in thrall to all that live-fast, die-young rock'n'roll mythology. For more than 20 years, they have partied unashamedly for Scotland. There has always been a narcotic strain to their music, from Loaded onwards. Guitarist Andrew Innes even has a pharmaceutical degree, which is almost poetic.

But they have rarely turned the hedonism into a spectacle – apart from at Glastonbury three years ago, when frontman Bobby Gillespie berated the audience for being Kylie-loving hippies before being huckled off the stage.

When he's not howling at the moon, the now 46-year-old Gillespie does a fine job of projecting that last-gang-in-town mentality which Primal Scream fans find so appealing.

There have been casualties along the way. For the last couple of years, Robert "Throbert" Young has not played live with the band, his place held down by "Little" Barrie Cadogan. "Throb's had problems in his personal life and he's kind of on an extended leave," says Mani, "but the place will always be set at the table. I miss him – he's the Throb, man, he's a rock god!"

Forthcoming ninth album Beautiful Future is their first not touched by the hand of Throb. It is also the first not made under the influence of substances.

"We've curbed the partying a bit," confirms Mani. "This time, you find Primal Scream behaving themselves. In the studio, you've got to be true to your talent and if you're off your tits, you ain't gonna do that, are you? The good behaviour doesn't have to hold for ever but I'm quite enjoying it. I've never had such clarity and we're on a great level musically, so why ruin it? Also, we've had 20 odd years of doing it – it's time for somebody else to take over. Let Winehouse and Doherty go and kill themselves; we're about the business of living and making music now."

So, at a point where artists of their vintage might want to put their feet up every now and again, Primal Scream haven't stopped for breath, eager to capitalise on their clear-headed creative streak.

"We were on fire when it came to the end of the last tour, so we thought, 'Are we all going to hit the beach for three months? I don't think so, let's get straight back in the studio,' and we started coming together, jamming, hanging out," recalls Mani. "It's a very organic way of working. We never start with any kind of gameplan and the songs will be what they'll be."

Somehow, though, Primal Scream always seem to come up with an album which is a reaction to the last. Their previous release, Riot City Blues, was the most traditional thing they had recorded in years. Spawning the Top Ten hit Country Girl, it was a return to Rocks-style retro rhythm'n'blues after three albums of electronica-influenced future rock.

Beautiful Future, on the other hand, contains some of their poppiest music in years. The chiming breeziness of the title track harks back to their roots as a jangly indie band, while their version of Fleetwood Mac's Over and Over, with guest vocalist Linda Thompson, is a trademark comedown cover. They keep company with a number of hell-for-leather garage rockers, all captured in a matter of days with three separate producers.

"We just went in, fired it down, didn't bother too much with the quest for perfection," says Mani. "If you catch a vibe and a moment, that's all you're looking for. For a bunch of old guys, I think we've found a great work ethic. It's great when you're straight!"

But is the album great? "It's the sound of a band who are quite happy with each other and just enjoy making music together," he proclaims. "We don't want to be flabby, smug, or do the same thing. We're always looking for new ways to work, and trying to better ourselves … Just cos we've been at it for 20-odd years doesn't mean we know everything. It is still a quest for knowledge in a way but I still think we've got something to say."

Mani beams enthusiasm for Beautiful Future, although you get the impression that he would feel that way about anything he was called to be part of. He was first invited into the Primals fold after contributing bass to their 1997 single Kowalski and has been a full-time band member ever since.

Despite a side project with ex-Smith Andy Rourke and New Order's Peter Hook Mani is committed to touring with the Scream, including a return to one of his favourite festivals, T in the Park.

"These songs transform into something else when we play live," he says. "We're a high-energy rock'n'roll band and we really rebound off the crowd. I can't wait to get out and play live. That's kind of like going on holiday for us. We've done our work in the studio – now let's go out and bloody enjoy it."

Beautiful Future is released by B-Unique on 21 July. Primal Scream play T in the Park on 13 July.