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THE
PRODIGY
–
Invaders
Must
Die
Prodigy
fans
had
to wait
almost
a decade
for
Always
Outnumbered,
Never
Outgunned
(2004)
to follow-up
the
excellent
Fat
Of The
Land
(1997).
This
time
the
anticipation
was
relieved
much
sooner.
Outnumbered
had
some
classic
tracks,
but
was
not
a wall-to-wall
masterpiece
like
Fat.
It also
had
a marked
absence
from
Prodigy
dancers
turned
vocalists
Keef
(formerly
Keith
Flint)
and
Maxim.
For
any
group,
artist
or beat-maker
to top
their
definitive
release
can
be a
burden,
but
moving
forward
is the
only
way,
then
reviewers
like
me won’t
harp
on it
(too
much).
Invaders
Must
Die
certainly
grows
on you
and
in many
ways
feels
like
it reaches
back
to capture
some
of the
Music
For
The
Jilted
Generation
flavour
–
another
fantastic
and
trend-setting
album.
Just
falling
short
of a
dozen
cuts,
mastermind
Liam
Howlett’s
defined
beats,
sound
and
energy
spills
from
the
speakers
with
steel-tip
boots.
While
some
dance
acts
will
remain
that
(and
less),
The
Prodigy
compacts
songs
that
accommodate
a wide
spectrum
of music
enthusiasts
which
also
include
those
who
are
prone
to have
Rock
or even
Punk
leanings.
This
is the
kind
of dance
music
that
can
start
a riot,
as opposed
to your
Tiësto
trance-flavoured
(monotonous)
and
peaceful
new-rave-generation
tunes.
This
is aggressive,
in-your-face
dance
music
which
surpasses
that
label
on many
levels.
As mentioned,
Keef
and
Maxim
are
back
to add
extra
force
with
their
vocals.
The
title
track
is an
announcement
exactly
on what
you’re
going
to expect
–
a near
mind-altering
experience
designed
to instigate
your
body
(not
sure
how
South
Africans
will
view
the
title
of Invaders
Must
Die
after
our
recent
xenophobic
violence,
as opposed
to a
fictitious
B-movie
alien
attack…).
Omen
and
its
Reprise
will
be one
of many
unforgettable
and
instantly
recognizable
Prodigy
tunes.
There
is the
strung-out
mood
of Take
Me To
The
Hospital,
and
the
reggae-flavoured
vocal
of Thunder.
As is
customary
there
are
guests
on this
album
which
include
a certain
Mr.
Dave
Grohl
of Foo
Fighters-
and
Nirvana-fame
who
has
certainly
not
laid
down
his
drum
sticks
(making
appearances
on albums
for
bands
like
Queens
Of The
Stone
Age
and
Tenacious
D).
Here
he adds
that
swift
and
powerful
style
to songs
like
Run
With
The
Wolves
and
the
chilled
out
brass-laden
closing
track
Stand
Up.
My two
least
favourite
tracks
are
ironically
centered
around
what
The
Prodigy
was
founded
on –
the
dancefloor
aimed
Warrior’s
Dance
(spoiled
for
me by
the
generic
female
vocal)
and
the
Krumping
leanings
of Colours
(with
a rudimentary
tune
and
dull
vocals
both
dipping
down
and
climbing
up to
dip
down
again).
Overall
this
is another
fine
album
which
will
cement
The
Prodigy
as an
entity
unto
itself
and
a genre
all
of its
own.
5
/ A
- Paul
Blom
1
2 3
4 5
6
A
- B
- C
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