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.