One of the classic albums of the 90s September 21, 2003
32 out of 44 found this review helpful
You must know the story by now. The Prodigy began in the beginning of the 90s, and managed to make a considerable impression with cheesy rave tunes such as Everybody in the Place and Out of Space, that collated to form their first album: Experience. Returning in 94 with some sophistication, they brought out Music For the Jilted Generation, with more serious hardcore records such as No Good (Start the Dance) and One Love, as well as the genre-blending brilliance of Voodoo People. The album went straight to the top and was nominated for a Mercury Music Award. By 96/7 they returned with The Fat of the Land, their double-platinum album that marked a massive change in style.
So we pick up with the album. The style has been called everything from techno and rave through to dance-rock. What is actually there is a fusion of hip hop, hardcore, punk rock and trace elements of everything in between. The album explores so many different styles over the ten tracks it can't really be classified. So instead of trying to generalise, let's look at it track at a time.
Smack My B*tch Up- A deliberately controversial opener, and not just for its vocals, this is probably the only techno track they've ever done. Its minimalistic, tuneless and totally focused on rhythmn, which is enhanced by the vocals. The fact they used it as their third single shows that the Prodigy name could carve routes into the charts for otherwise unprofitable genres. Certainly, the only other successful record of its type I know of is 'We Have Explosive' by The Future Sound of London.
Breathe- From the haunting guitar opening to the chilling video, Breathe is probably the most gritty record they've done. There's nothing uplifting or happy about this record, but its all the better for its almost heavy metal-like atmosphere of gloom.
Diesel Power- Solid indusrial rap which I ignored at first, all repeated listening reveals that it's a good track after all. Another rythmn focused track that almost sounds as if it was intending for a film soundtrack.
Funky Sh*t- Probably the most famous thing about this track is that it played to the end credits of Event Horizon. Out of all the tracks on the album its the most underground. A strange mix of hip-hop rythmns and solid acid-rave sounds, it never really gels.
Serial Thrilla- One of the best tracks here, this is a solid rock record that would have been unexceptional had it been made by any other group. There's just enough synth in the background to give it that classic Prodigy feel.
Mindfields- A haunting, captivating track used on the Matrix soundtrack. A really stealthy track, its probably the most cerebral track on the album, and really hard to describe without resorting to hyperbole. Put it this way: its possibly the least brash and obvious track, yet one of the most listened to.
Narayan- I can't bring myself to like this track. I don't know why, but it just doesn't work. The piano, the vocals, it just all comes togethor to something that's no more than the sum of its parts.
Firestarter- Ah, the real star. The track the Prodigy will forever by remembered for, even if Breathe outsold it. Full of aggression, of expression and emotion, its a complex track with so much going on at once. A labour of love, and one that certainly paid off.
Climbatize- Of all the tracks on the album, this is probably the one that gets played the least, and has featured on least adverts and films. Its a really intelligent instrumental with a solid bassline that has more progression than the others, and a really good track, but one with too low a profile.
Fuel My Fire- A cover of the L7 track, this is where you really see how the Prodigy's music works. When they're covering someone else's music it sounds terrible. You realise, even more so than on Serial Thrilla, that the Prodigy's music is theirs, and if it was performed by anyone else, or if they do anyone elses music, it just doesn't have that Prodigy vibe.
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