It's the sound of The Prodigy mixing up genres, contorting
the past and rewiring the future. The Prodigy ramraiding through the
tranquillity of music's status quo like a blot on the landscape of England's
dreaming. The Prodigy with a short, sharp and brutal declaration of intent.
Still underground after all these years. Still true to the dream. On debut
album Experience, their
rough-around-the-edges, renegade-break psychosis soundtracked rave's free party
antics at a time when dance artists weren't supposed to release albums. The
follow up Music for the Jilted
Generation dragged guitars from rock's bloated grasp, fused
metal to dysfunctional beat alchemy and stormed the heartland of rock music's
venues at a time when dance acts were only supposed to play raves. With 1997's The Fat of the Land and
it's brace of radio and MTV hogging singles ('Firestarter',
'Breathe', 'Smack My Bitch Up') The
Prodigy stormed the world's festivals, headlined stages usually reserved for
rock's establishment and walked like Gods where other press-friendly artists
failed to tread - and dance artists were previously uninvited. Take 'Colours', the first tune
The Prodigy recorded for this set with its 1992 polysynth riffing that sounds
like The Stranglers' 'No More Heroes' parachuted into the middle of a
Perception rave. Or 'Thunder',
the bastard child of the Devilish threesome of 'Out of Space', Studio 1's
finest roots rockers and switchblade ambience. “We represent all that is great
about Britain, and we should be protected like a national heritage,” laughs Liam Howlett as 'Stand Up' fades into the
distance. He may well be right! The question is, are the established overlords
of our green and pleasant land ready for this particular juggernaut to be
jettisoned into the middle of Constable’s finest.Listen song here:YouTube
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