The Prodigy aim to reclaim former glories with sixth studio album The Day is My Enemy.
The synthpunk trio have a been a staple since the 90s. Their unique take on rave and breakbeat hardcore has won them critical acclaim, including a couple of Grammy nods, Brits and MTV awards. They're back after six years with their sixth studio album The Day Is My Enemy. But have The Prodigy lost it?
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The latest album seems to have sneaked out without anyone noticing. It didn't so much create a buzz, more radio silence. I don't listen to Radio 1, so I don't know if they're getting airplay over there. Damn shame if this album fades into the modern equivalent of the Woolies bargain bucket.
The album opens with the title track, The Day Is My Enemy. It's good. Really good. It's blistering military beats coupled with belligerent electronica is a magnificent battle-cry. And The Prodigy are back with a vengeance.
Single Nasty is typical Prodigy, Keith's shouty vocals are distinct and attitude fuelled. This is the sort of track that would get entire fields at music festivals bouncing. As does its successor Rebel Radio. Ibiza reminds me of a track called Little James from Oasis' Standing On The Shoulder of Giants album. Not because of its musicality, but because it smacks of 'ok Keith, you can play with the mixing desk now'.
The album loses it a bit with a dated and juvenile sound. You start to pity these 50 somethings still holding onto their distant youth of debauchery and cropped trousers. They save it with Wild Frontier. Who wouldn't like a track with monkey noises in it?! Its Atari/Spectrum synths make for a twee yet defiant demeanour. The stop motion video is seriously cool though.
Now the album takes off with Rok-Weiler, Roadblox and Wall of Death. These songs will stick in your head for days. And you'll try with all your might not to dance like a loon, but you'll fail. The band is still the offensive sound that had people reaching for their telephones when Firestarter aired on Top of The Pops. Their guerrilla marketing campaign for the album saw them projecting artwork on major London landmarks like Battersea Power Station and the House of Parliament with the accompanying octothorp #TheirLaw as a confrontational nod to their seminal album Music For The Jilted Generation.
Their lyrics are nonsensical and yes, the tracks are all the same. You won't find a ballad or a track using actual instruments here. In fact, you'd be pushed to find a track that's less than a million bpm but it gets the adrenalin going. It makes you feel alive. It makes you want to fuck some serious shit up. So no, +The Prodigy hasn't lost it.
The latest album seems to have sneaked out without anyone noticing. It didn't so much create a buzz, more radio silence. I don't listen to Radio 1, so I don't know if they're getting airplay over there. Damn shame if this album fades into the modern equivalent of the Woolies bargain bucket.
The album opens with the title track, The Day Is My Enemy. It's good. Really good. It's blistering military beats coupled with belligerent electronica is a magnificent battle-cry. And The Prodigy are back with a vengeance.
Single Nasty is typical Prodigy, Keith's shouty vocals are distinct and attitude fuelled. This is the sort of track that would get entire fields at music festivals bouncing. As does its successor Rebel Radio. Ibiza reminds me of a track called Little James from Oasis' Standing On The Shoulder of Giants album. Not because of its musicality, but because it smacks of 'ok Keith, you can play with the mixing desk now'.
The album loses it a bit with a dated and juvenile sound. You start to pity these 50 somethings still holding onto their distant youth of debauchery and cropped trousers. They save it with Wild Frontier. Who wouldn't like a track with monkey noises in it?! Its Atari/Spectrum synths make for a twee yet defiant demeanour. The stop motion video is seriously cool though.
Now the album takes off with Rok-Weiler, Roadblox and Wall of Death. These songs will stick in your head for days. And you'll try with all your might not to dance like a loon, but you'll fail. The band is still the offensive sound that had people reaching for their telephones when Firestarter aired on Top of The Pops. Their guerrilla marketing campaign for the album saw them projecting artwork on major London landmarks like Battersea Power Station and the House of Parliament with the accompanying octothorp #TheirLaw as a confrontational nod to their seminal album Music For The Jilted Generation.
Their lyrics are nonsensical and yes, the tracks are all the same. You won't find a ballad or a track using actual instruments here. In fact, you'd be pushed to find a track that's less than a million bpm but it gets the adrenalin going. It makes you feel alive. It makes you want to fuck some serious shit up. So no, +The Prodigy hasn't lost it.
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