#The prodigy invaders must di archive
#The prodigy invaders must di series

#The prodigy invaders must di archive

The final return to established archive form comes in the shape of вЂWorldвЂ™s On FireвЂ™, which sees Howlett plunder his past for some truly brilliant retro-rave hysteria вЂ“ itвЂ™s enough to have one lamenting ever growing out of Spliffy jeans and happy hardcore tape packs. вЂњYouвЂ™re a mug, thatвЂ™s why I had to cut you down,вЂќ comes his quasi-apology for getting medieval on the arse of an unspecified victim вЂ“ the man might not look like much to many, but when heвЂ™s got his back up like this heвЂ™s the last guy you want to bump into down an alley after closing time. The albumвЂ™s middle section continues to impress with the savagely boisterous вЂRun With The WolvesвЂ™, featuring FlintвЂ™s best lyrical performance on this record вЂ“ the diminutive but well-decorated vocalist rasps вЂњWhatcha gonna do when the hounds are calling?вЂќ with every ounce of venom he spat on catalogue classics вЂFirestarterвЂ™ and вЂBreatheвЂ™.

ThereвЂ™s also a slight eastern mood in the breaks вЂ“ an echo, perhaps, of вЂNarayanвЂ™ from album three, 1997вЂ™s вЂThe Fat Of The LandвЂ™. ItвЂ™s perfectly balanced вЂ“ its low end hitting hard while the higher-pitched elements sit pretty atop a solid backbone of thunderous beats and wailing effects. вЂWarriorвЂ™s DanceвЂ™ reinforces the вЂExperienceвЂ™ 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. Indeed, one could place вЂInvaders Must DieвЂ™ between its makersвЂ™ debut and subsequent high watermark in terms of first-impression style.

Riding in on synth lines that sounded brilliantly cheesy back in вЂ™91, the track features a syncopated Flint repeating the trackвЂ™s title while around him swarm truly aggressive beats, their bite only tempered by high-pitched vocal snatches more вЂExperienceвЂ™ than anything else on show here.

#The prodigy invaders must di series

вЂInvaders Must DieвЂ™ doesnвЂ™t fully hits stride until five tracks in вЂ“ the opening onslaught is a seamless series of skull-pounding numbers, including the single вЂOmenвЂ™, but itвЂ™s вЂTake Me To The HospitalвЂ™ that opens the floodgates for this fifth studio albumвЂ™s most euphoric highs. The gear-grinding tension building of the opening title track echoes the atmosphere of вЂVoodoo PeopleвЂ™, to the extent where the вЂњMagic peopleвЂ¦вЂќ vocal is damn near expected when the mood of malevolence is broken by a simple message of returning intent: вЂњWe are The ProdigyвЂќ.

This retrogressive progression, if you will, ensures вЂInvaders Must DieвЂ™ makes an instantaneous impact at least it does so if you ever held the groupвЂ™s seminal second album, 1994вЂ™s Mercury-nominated вЂMusic For The Jilted GenerationвЂ™, in high regard. WhatвЂ™s striking is that Liam Howlett вЂ“ ably assisted by both Keith Flint and Maxim, both of whom were absent on 2004вЂ™s too-many-cooks вЂAlways Outnumbered, Never OutgunnedвЂ™ вЂ“ is setting his sights on the bandвЂ™s future, channelling the past only when it serves to step the trio onwards and upwards. But itвЂ™s not this facet of its finalised form that exclusively appeals.

Too long a time for most, so вЂInvaders Must DieвЂ™ needs to make an impression so sizeable that said five years are forgotten immediately: this needs to transport the listener to a world that doesnвЂ™t lose its shit over limited-run dubstep releases.ДЄnd, for large parts of its 46-minute run time, вЂInvaders Must DieвЂ™ succeeds in teleporting the past into the present. 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.