Released at the beginning of the 21st century, Primal Scream’s ‘XTRMNTR’ was not just an album, but rather a sonic uprising, a raw and chaotic declaration of war likely aimed at political indifference, corporate greed, and cultural complacency.
Interestingly, Bobby Gillespie asserts that it’s not a political statement but rather a reflection of the band’s state in the late '90s, particularly regarding their involvement in UK drug culture. However, this perspective is difficult to accept, especially considering its release during the height of neoliberalism (with Blair and Clinton at the forefront), a viewpoint that now appears rather naive.
Despite Gillespie’s stance, ‘XTRMNTR’ is best seen as a protest against systems of control and the cultural numbness that enables their existence. It was also prophetic, arriving just over 18 months before 9/11 and the ensuing wave of global anxiety.
The band's progression as the millennium approached (from ‘Vanishing Point’ to ‘Evil Heat’) marked arguably Primal Scream’s most experimental phase, with ‘XTRMNTR’ representing the pinnacle of this evolution. Featuring contributions from Kevin Shields, Mani, Bernard Sumner, and The Chemical Brothers, it showcased a rich and unpredictable sound.
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‘Kill All Hippies’ begins with a snappy sample from the film Out of the Blue (the title itself is a quote), establishing a sense of dystopian tension. Gillespie’s falsetto seems less like singing and more like it’s being forced through an electronic vice, becoming distorted and eerie. The subsequent onslaught of sonic layers shimmers, simmers, and teeters on the verge of collapse under the weight of its aggressive, provocative electronic rhythm.
The intensity ramps up on ‘Accelerator’, which explodes with feedback-infused 21st-century garage rock. Gillespie quickly abandons his falsetto for vigorous shouting, pushing against the chaos, which is amplified by Kevin Shields of My Bloody Valentine, who pushes every level to the extreme, creating a whirlwind of sound.
The quasi-title track ‘Exterminator’ thunders with an industrial beat, a constant, marching rhythm over which Gillespie growls about ‘civil disobedience’. Just as the track seems poised to overwhelm the listener, an unexpected key change relieves the tension.
While its impact may have faded slightly with familiarity, ‘Swastika Eyes’ remains an exceptional track: a frantic, looping electro-rock missile directed at surveillance culture and authoritarianism. The remix by The Chemical Brothers that appears later offers a more spacious take (and is still excellent), but its addition might be seen as one of the album's few missteps.
‘Pills’, with its uneasy arrangement and nightmarish production, furthers the album’s dystopian atmosphere as Gillespie delivers lines like someone trapped in a fever dream. A pre-Gorillaz Dan The Automator’s influence melds the track into a gothic, industrial hip-hop fusion that feels genuinely disconcerting, which one might suspect was the intended effect.
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Despite its overwhelming intensity, there are brief moments of calm. ‘Keep Your Dreams’ emerges with dreamy synths and gentle vocals, a track that feels somewhat out of place yet is a welcome addition amidst the chaos—the type of hazy, ethereal piece that Primal Scream has included throughout their career.
‘MBV Arkestra (If They Move Kill 'Em)’ is a rich tapestry of layered drums, horns, and stormy guitars, reminiscent of a psych-rock soundtrack to a climactic apocalyptic movie. It approaches an almost unbearable volume and pitch, while ‘Shoot Speed/Kill Light’ (featuring Bernard Sumner in a chainsaw role) concludes the album on an oddly uplifting note, with Mani’s bassline providing a comforting hum.
Ultimately, ‘XTRMNTR’ represents Primal Scream at their most untamed and innovative. It is an album that explores the tension between melody and dissonance, chaos and control. Where earlier albums like ‘Screamadelica’ floated in psychedelic bliss, ‘XTRMNTR’ strikes like a pipe bomb against capitalist discontent. Unlike Radiohead, who opted for unsettling millennial introspection on ‘Kid A’, Primal Scream channeled their energy into confronting the system.
A quarter of a century later, its innovation may seem somewhat dated, given that the blend of rock and electronica now feels nearly self-parodic. As the final release from Creation Records, it served as a fitting farewell for the iconic label. It felt like the future in January 2000, and it continues to resonate today.
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Primal Scream will perform at Gig For Gaza—organized by Paul Weller—at the Troxy in London on October 17th; tickets can be purchased here.
Words: Richard Bowes
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Released at the beginning of the 21st century, Primal Scream's 'XTRMNTR' was more than just an album; it was a loud and intense declaration of defiance, an auditory revolt that was anticipated.