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XTRMNTR [VINYL]

4.5 out of 5 stars 15 customer reviews

Price: £31.22 & FREE Delivery in the UK. Details
Includes FREE MP3 version of this album.
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£31.22 & FREE Delivery in the UK. Details Only 1 left in stock (more on the way). Dispatched and sold by Amazon in certified Frustration-Free Packaging. Gift-wrap available.
Amazon Has Certified That This Packaging Is Frustration-Free
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Amazon's Primal Scream Store


Frequently Bought Together

  • XTRMNTR [VINYL]
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  • Vanishing Point
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Total price: £40.47
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Product Features

  • Ships in Certified Frustration-Free Packaging

Product details

  • Vinyl (23 May 2011)
  • Number of Discs: 2
  • Label: Music On Vinyl
  • ASIN: B004WX4DB8
  • Other Editions: Audio CD  |  Vinyl  |  MP3 Download
  • Average Customer Review: 4.5 out of 5 stars  See all reviews (15 customer reviews)
  • Amazon Bestsellers Rank: 175,125 in Music (See Top 100 in Music)
  • Sample this album Artist (Sample)
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Product Description

CD Description

180 grams audiophile vinyl

About the Artist

When Primal Scream's EXTERMINATOR or XTRMNTR came out in 2000 as the last album on Alan McGee's legendary Creation Records it made quite a stir. McGee must have told The Scream to let the label 'go out with a bang', and boy did they deliver. EXTERMINATOR is punk flavoured anarchism mixed with a big beat rumpus, a sonic protest against the self-righteous and unchallenging indie-music of the day. Or, as NME put it: 'rarely has anger been so beautifully managed', as they put it on the #2 spot of the best albums of 2000 (only losing out to Radiohead's Kid A). With EXTERMINATOR The Scream produced war you can dance to, proving themselves ahead of their time. Available on 180 grams audiophile vinyl again for the first time since its original release!

Customer Reviews

4.5 out of 5 stars
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Top Customer Reviews

Format: Audio CD
2000 was the year Radiohead broke onto the scene with electronic, bizarre rock. Yet while all the attention revolved around them, Primal Scream released this stunning album, which arguably eclipses the achievements of both KID A and Amnesiac. The album begins on an aggressive note, with Kill All Hippies, and the pace remains throughout. I have yet to listen to an album which manages to keep the sheer pace and energy flowing for so long; Accelerator, a brash, intense fuzz of guitars and strained vocals follows, leading onto the excellent Exterminator. This and Swastika Eyes become the political centrepiece for the album, with Manis pulsating bass pumping the songs up to the maximum. Elsewhere, look out for Keep your Dreams and MBV Arkestra. Shoot Speed/Kill Light concludes the album in style, a wonderfully grogy, blurred track. Perhaps the addition of a remix of Swastika Eyes made the album perhaps overlong. Truly a record to riot to. Superb.
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Format: Audio CD
Over the years since their inception they've been a winsome Byrds tribute band, a hoary Stones tribute band, an awesome, euphoric, eclectic, alternative dance outfit, and a smacked-up 12-bar blues barroom boogie rock band. And now this... Punk. Dub. Funk. White noise. 21st century idealist political ballads. Free jazz. Gay disco. Psychopathic machine rock. 9 years after 'Screamadelica' they've finally come up with an album that can stand up alongside it without looking either weak or just plain bad. They may be nearing 40, they may be dangerously close to insanity due to taking all the drugs, but Bobby Gillespie, Innes, Throb, Duffy, Mani and now Kevin Shields (plus anyone else who fancies popping in to the studio for a few minutes now and then) are probably the most exciting band in the country right now. Bar At The Drive-In, the most exciting band in the world. The breadth, depth, energy, anger, compassion and downright bloody-minded brilliance of this record can't be emphasised enough. XTRMNTR is, simply, fckng xcllnt.
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Format: Audio CD
the echo of which will, one hopes, be around for some time to come. Give Out But Don't Give Up was a quite enjoyable trad-rock album and Vanishing Point was a crazed, dubbed-up brute. However, both lacked the vision of Screamadelica. This album is the true follow-up.
While undeniably harder and darker, with its mix of film dialogue samples and dubby grooves, Exterminator is easily the equal of Screamadelica. Bobby Gillespie's vocals here are minima but his presence hangs over the whole album. Kill All Hippies takes Kowalski's death wish to its (intended?) conclusion.
Then there's Swastika Eyes' surely the deathliest disco record since New Order's Blue Monday, a track to which it bears more than a passing resemblance, before going right off the rails into Prodigy territory (Liam Howlett is thanked in the sleeve notes). An aggressive hip hop track, Exterminator is easily the best thing on the album. It goes mental, Bobby Gillespie rapping about how the Government wants to kill the poor. It's an invigorating, enervating track, completely different to anything else Primal Scream have ever done. Oassis should try something like it.
MBV Arkestra, a jazzed up reworking of Vanishing Point's If They Move Kill 'Em almost but not quite matches it. As I've said before, this is a hard, angry record, and MBV Arkestra is by far the most unhinged track on it, going off in all sorts of directions, not caring if (or even, where) it ends up. That's what's called taking risks, kids, and Primal Scream are one of the few bands brave enough to do this in today's sterile musical climate, which is one of the reasons this is such a breathtaking record. The only real moment of respite during this album's sixty minutes and twenty nine seconds comes with the lovely Keep Your Dreams, which comes on like the result of a clandestine tryst between Damaged and Long Life. Like a lot of other things on this album, it shouldn't work, but it most definitely does.
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Format: Audio CD
2000 was a pretty good year for music, one that unleashed masterpieces such as Air's 'Virgin Suicides Score,' Badly Drawn Boy's 'The Hour of Bewilderbeast,' and Radiohead's 'Kid A.' However, not only does this album blow everything else away from that year, but it could be the best album since R.E.M.'s 'Automatic For The People.' This album is unlike anything I have ever heard, and it truly mindblowing. From the opening cell phone ring of 'Kill All Hippies,' one knows that there's going to be a revolution, one that completely rewrites the book on music. There is so much here, but underneath it all is the truly amazing bass of one Gary Mountfield, aka Mani, formerly of the Stone Roses. His bass truly is the heart of this record, and it carries every song through it's murky, body moving throb. On 'Hippies,' for example, his Kraftwerk-like computer-programmed-sounding bass steals the show, as this reviewer had a sudden urge to GET DOWN when hearing it. On 'Accelerator,' an MC5/Stooges-thrash of proto-punk, a wall of Kevin Shields-programmed guitar noise has the power to incite a rock revolution alone. 'Swastika Eyes,' a self-described, by Bobby, 'gay disco' masterpiece truly is what they should be playing at raves, not that Oakenfold business; it puts you in a trance. On the David Holmes assisted 'Blood Money,' and 'Shoot Speed Kill Light,' the listener is subjected to jazz that turns into a war riot, and a psychedelic haze that lifts the soul out of the body (it reminded me U2's 'Zoo Station' off 'Achtung Baby.') However, the real kicker is the Sun Ra/MBV influenced 'MBV Arkestra (If They Move Kill Em),' a song that, with pounding and scorching rhythm, unleashes a riffy, distorted guitar lick, and adds a wall of feedback, and adds more feedback, and ... soon enough, you truly feel like you've just been transported to a whole new world of music, one where anything is possible. And XTRMNTR is the doorway to the sonic revolution.
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