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The Prodigy - Invaders Must Die

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Rave titans' fifth album fires on all cylinders...

Cooking Vinyl

Five years have passed since the last full-length offering of new material from Essex rave titans The Prodigy, and five years in an industry that turns on the slightest trend is a long time.

Too long a time for most, so ‘Invaders Must Die’ needs to make an impression so sizeable that said five years are forgotten immediately: this needs to transport the listener to a world that doesn’t lose its shit over limited-run dubstep releases.

And, for large parts of its 46-minute run time, ‘Invaders Must Die’ succeeds in teleporting the past into the present. But it’s not this facet of its finalised form that exclusively appeals. What’s striking is that Liam Howlett – ably assisted by both Keith Flint and Maxim, both of whom were absent on 2004’s too-many-cooks ‘Always Outnumbered, Never Outgunned’ – is setting his sights on the band’s future, channelling the past only when it serves to step the trio onwards and upwards.

This retrogressive progression, if you will, ensures ‘Invaders Must Die’ makes an instantaneous impact; at least it does so if you ever held the group’s seminal second album, 1994’s Mercury-nominated ‘Music For The Jilted Generation’, in high regard. The gear-grinding tension building of the opening title track echoes the atmosphere of ‘Voodoo People’, to the extent where the “Magic people…” vocal is damn near expected when the mood of malevolence is broken by a simple message of returning intent: “We are The Prodigy”. It’s just as effective.

‘Invaders Must Die’ doesn’t fully hits stride until five tracks in – the opening onslaught is a seamless series of skull-pounding numbers, including the single ‘Omen’, but it’s ‘Take Me To The Hospital’ that opens the floodgates for this fifth studio album’s most euphoric highs. Riding in on synth lines that sounded brilliantly cheesy back in ’91, the track features a syncopated Flint repeating the track’s title while around him swarm truly aggressive beats, their bite only tempered by high-pitched vocal snatches more ‘Experience’ than anything else on show here. Indeed, one could place ‘Invaders Must Die’ between its makers’ debut and subsequent high watermark in terms of first-impression style.

‘Warrior’s Dance’ reinforces the ‘Experience’ feel, drifting into focus on ominously buzzing keys before exploding into a day-glo riot of neon colour and mind-altering uppers, a simple vocal line celebrating the simple pleasure of losing oneself on a dancefloor. It’s perfectly balanced – its low end hitting hard while the higher-pitched elements sit pretty atop a solid backbone of thunderous beats and wailing effects. There’s also a slight eastern mood in the breaks – an echo, perhaps, of ‘Narayan’ from album three, 1997’s ‘The Fat Of The Land’.

The album’s middle section continues to impress with the savagely boisterous ‘Run With The Wolves’, featuring Flint’s best lyrical performance on this record – the diminutive but well-decorated vocalist rasps “Whatcha gonna do when the hounds are calling?” with every ounce of venom he spat on catalogue classics ‘Firestarter’ and ‘Breathe’. “You’re a mug, that’s why I had to cut you down,” comes his quasi-apology for getting medieval on the arse of an unspecified victim – the man might not look like much to many, but when he’s got his back up like this he’s the last guy you want to bump into down an alley after closing time.

The final return to established archive form comes in the shape of ‘World’s On Fire’, which sees Howlett plunder his past for some truly brilliant retro-rave hysteria – it’s enough to have one lamenting ever growing out of Spliffy jeans and happy hardcore tape packs. But that’s not where the excitement ends, for the completely side-blinding closer ‘Stand Up’ makes clear The Prodigy’s keenness for creative expansion, as they seek to explore musical territories previously considered too alien for a group spawned from a very sound-specific scene.

The track sounds for all the world like something David Holmes would piece together for a jaunty crime caper soundtrack; or, perhaps closer given their acid house leanings, like Primal Scream giving Bobby G the night off and jamming out some silkily bass-heavy funk. That it’s completely out of keeping with everything that’s come before it is both a plus and minus – it does nothing for the cohesiveness of a record somewhat uncertain of its place in The Prodigy’s body of work, but at the same time suggests that this is a band with a future that will outlast the dying cries of the rave crowd, ‘nu’ or otherwise.

It’s a really exciting and optimistic way to end a record that largely earns its stripes by slightly sidestepping familiar footsteps, and leaves the listener certain that The Prodigy still matter. Put simply, nobody does The Prodigy like The Prodigy, and it’s a joy to have them back on all cylinders. Pendulum, don’t let the door smack you on the arse on your way out.

Pick up issue 35 of Clash magazine for an exclusive interview with The Prodigy - details HERE

The Prodigy - Invaders Must Die

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Cooking Vinyl is a UK-based independent record company, founded in 1986. Its original orientation was toward contemporary folk music -- notably Billy Bragg, and Michelle Shocked's Texas Campfire Tapes, recorded on a Sony Walkman, one of its first releases.

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Their music consists of

Their music consists of various styles ranging from rave, hardcore, industrial and breakbeat in the early 1990s to electronic rock with punk vocal elements in later times.

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The name displayed on album

The name displayed on album covers changed from "The Prodigy" to "Prodigy" between Music for the Jilted Generation and The Fat of the Land in 1997 and back again with the release of Always Outnumbered, Never Outgunned in 2004.

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For anyone with a passing

For anyone with a passing interest in dance culture, old-skool rave terrorists The Prodigy are just one of ‘those’ acts; easily one of the most energized and ferocious live performers to ever work in dance. ITM gets ready for battle with The Prodigy.

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But it’s ‘Take Me To The

But it’s ‘Take Me To The Hospital’ that opens the floodgates for this fifth studio album’s most euphoric highs. Riding in on synth lines that sounded brilliantly cheesy back in ’91, the track features a syncopated Flint repeating the track’s title while around him swarm truly aggressive beats, their bite only tempered by high-pitched vocal snatches more ‘Experience’ than anything else on show here.

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The Prodigy is a successful

The Prodigy is a successful English electronic music group formed by Liam Howlett in 1990 in Braintree, Essex, England. Along with Fatboy Slim, The Chemical Brothers and The Crystal Method, as well as other acts they are pioneers of the big beat electronic dance genre which achieved mainstream popularity in the 1990s and 2000s, and are known for high-quality live performances.

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The name displayed on album

The name displayed on album covers changed from "The Prodigy" to "Prodigy" between Music for the Jilted Generation and The Fat of the Land in 1997 and back again with the release of Always Outnumbered, Never Outgunned in 2004.

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The Prodigy is a successful

The Prodigy is a successful English electronic music group formed by Liam Howlett in 1990 in Braintree, Essex, England. Along with Fatboy Slim, The Chemical Brothers and The Crystal Method, as well as other acts they are pioneers of the big beat electronic dance genre which achieved mainstream popularity in the 1990s and 2000s, and are known for high-quality live performance.

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Along with Fatboy Slim, The

Along with Fatboy Slim, The Chemical Brothers and The Crystal Method, as well as other acts they are pioneers of the big beat electronic dance genre which achieved mainstream popularity in the 1990s and 2000s, and are known for high-quality live performances. They have sold over 17 million records worldwide which is unequalled in dance music history.

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Invaders Must Die is the

Invaders Must Die is the fifth studio album by the electronic act The Prodigy which was released during February and March 2009 on the band's new label "Take Me to the Hospital".

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Invaders are bad. The music industry should do something of this. Vandalism is bad.
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The long-awaited third

The long-awaited third Prodigy album, The Fat of the Land, was released in 1997 just as the band headlined the Glastonbury festival on its opening night. Like its predecessors, the album represented a milestone in the development of both the band and the wider mainstream dance scene.

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This album doesn't looks

This album doesn't looks good in views of reviewer. It got an average score of 60 (out of 100) based on 20 reviews. However, I kinda like it after listening several tracks in the album.

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It’s no secret that The

It’s no secret that The Prodigy are true innovators of their craft and that they have left their fingerprints on as many genres as they have been influenced by themselves.
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5 years is way too long to

5 years is way too long to wait between albums, hopefully they are already working on the next. I saw that at Global this year and they were the nuts, onve of the best live dance acts about.Control Systems Maintenance

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Although 5 years is a long

Although 5 years is a long time between albums I think the Prodigy have such a strong and loyal following that their fans are just glad to see them back and with an albums that's pretty darn good. van leasing deals

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5 years is a long time in

5 years is a long time in industry, I hope they will relase their new version soon. Thanks--------------------10 inch laptops || no teletrack Payday loan

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Just remember the

Just remember the responsibility to educate young adults to be critical, not irresponsibly wild. I am afraid that the music is a bit too offensive.
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This is a top album, I was really glad to get it today and discover the sound that I loved. Overall this album works really well as a whole.

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an alle fans: verpasst auf keinen fall den nächsten gig in eurer nähe von the prodigy!

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Invaders Must Die has the

Invaders Must Die has the energy and power with a more grungy sound just like previous ones. Tracks like “Thunder” including the hit "Invaders Must Die" are some of my favorite tracks. I also liked to see Dave Grohl on this, doing live drums for the boys.

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Cooking Vinyl is a UK-based independent record company, founded in 1986. Its original orientation was toward contemporary folk music -- notably Billy Bragg, and Michelle Shocked's Texas Campfire Tapes, recorded on a Sony Walkman, one of its first releases. Since then the label has grown and diversified into releasing Rock (The Lemonheads,The Donnas, Killing Joke, The Mission), Indie (The Charlatans, Art Brut), Punk (Dropkick Murphys, Less Than Jake, The Buzzcocks, The Undertones and Blondie), Electronica (The Prodigy, Nitin Sawhney, The Orb) and eclectic records such as Mexican Institute Of Sound.

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I suspect you're going to

I suspect you're going to read some reviews of this album that say it sounds suspiciously like their old albums. It does. This raises an interesting problem. Fans of the band or 90s punk techno will probably really like the album. It sounds a lot like Prodigy from their 2 classic albums. Some modern techno fans will undoubtedly think it sounds dated though as this sound is no longer fashionable.

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The Chemical Brothers and

The Chemical Brothers and The Crystal Method, as well as other acts they are pioneers of the big beat electronic dance genre which achieved mainstream popularity in the 1990s and 2000s, and are known for high-quality live performances.

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The name displayed on album

The name displayed on album covers changed from "The Prodigy" to "Prodigy" between Music for the Jilted Generation and The Fat of the Land in 1997 and back again with the release of Always Outnumbered, Never Outgunned in 2004.

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Convincing a band like the

Convincing a band like the Prodigy to sign to your record label is not done overnight. Martin Goldschmidt founder and MD of Cooking Vinyl remembers reaching a stage in the negotiations with the world's biggest techno-rock act when he realized the competition he was up against. "I got a call from the Prodigy's manager saying there was two problems with our contract: Universal and Warners," Goldschmidt says with a wry smile.

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The Prodigy is an English

The Prodigy is an English electronic music group formed by Liam Howlett, in 1990, in Braintree, Essex, England. They have sold over 17 million records worldwide which is unequalled in dance music history.

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Invaders Must Die has the energy and power with a more grungy sound just like previous ones.
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Since then the label has grown and diversified into releasing Rock (The Lemonheads,The Donnas, Killing Joke, The Mission), Indie (The Charlatans, Art Brut, Idlewild ), Punk (Dropkick Murphys, Less Than Jake, The Buzzcocks, The Undertones and Blondie), Electronica (The Prodigy, Nitin Sawhney, The Orb) and eclectic records such as Mexican Institute Of Sound.

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This album doesn't looks good in views of reviewer. It got an average score of 60 (out of 100) based on 20 reviews. However, I kinda like it after listening several tracks in the album.Respectable Reviews

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In recent years, Ross has

In recent years, Ross has worked primarily as a songwriter, penning tunes for James Blunt, Ronan Keating and "Pop Idol" runner-up Gareth Gates. He also presents a country music show, "Another Country," on BBC Radio Scotland.

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Cooking Vinyl is a UK-based

Cooking Vinyl is a UK-based independent record company, founded in 1986. Its original orientation was toward contemporary folk music -- notably Billy Bragg, and Michelle Shocked's Texas Campfire Tapes, recorded on a Sony Walkman, one of its first releases.

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