Scooped from The Day Is My Enemy’s backside, this track is every bit as riotous as its title suggests Howlett’s love of horror gets another look-in through the keys, there’s a metal guitar riff that leads you straight into bouts of elephantine electro and the proclamation, “ Fuck this and fuck the cash, fuck you and your heart attack!” is a suitably nasty parting shot from the Prodigy’s sixth LP.Ĭhrist, even the bit when there’s just fingers clicking sounds more menacing than excerpts from Michael Myers’ journal. Well… it’s literally named after a wall of death. “And hey, if there’s a drummer to sample, then Dave Grohl’s the man isn’t he?” Yes he is, Liam. “I’m a beats man and a beat thief through and through,” said Howlett to Hot Press at the time.
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Born after Foo Fighters frontman/Nirvana skinsman/the Prodigy’s mate Dave Grohl sent a hard-drive full of drum tracks to Howlett, the song wrapped itself around said pummelling percussion and Keith’s ridiculously aggressive lines, penned for an earlier track but as-then unused.Īnything with Grohl on it’s going to induce nappy-changing the world over, but his performance through Run With The Wolves undisputedly provides Invaders Must Die with one of its earthiest, heaviest moments. “You’re a MUG!” shouts Flint, threatening to steal Bob Dylan’s Nobel Prize during Run With The Wolves. Overall, it’s an unsettling few minutes that’ll rattle your ribcage, tickle your funny bone and send you into a limb-flailing frenzy. Applying the repetitive, cyclical nature of their early material to Invaders Must Die’s rock-based racket, the band conjure a gruelling, endless onslaught that’s juxtaposed by Martina Topley-Bird’s warbled vocal performance. A turning point for both the band and their fanbase, Invaders Must Die is an essential listen and an absolute neck-snapper in the live arena.įlanked by the militaristic pounding of the Top Secret Drum Corps, the Prodigy kicked off their sixth full-length with this slathering slice of sexiness. There’s not a guitar in sight but no matter the sheer force of this song breaks any weighing scale foolish enough to sit beneath the Prodigy.
The title track and opening gambit to one of the greatest creative resurgences in recent musical history, Invaders Must Die builds with that pulsating, puerile bassline before that bit. Rok-Weiler’s hydraulic heaviness is guaranteed to put a bouncy castle in your step. Boasting guitars courtesy of Holliday and a crunching chorus that’s just plain naughty, this track’s pulsing electronics and foolishly barked refrains are so childish – that’s what’s so great about it. Rok-Weiler (2015)Īs bullish as its title suggests, Rok-Weiler is a rock song through and through. Tim Hutton’s ridiculous horns and the horror-themed theatrics all contribute to this song’s blissful belligerence while not the perfect Invaders Must Die cut, its mixture of the organic and electronic is certainly one of the stand-out moments. One of several Invaders Must Die tracks crawling into the upper echelons of this list, Piranha has Maxim detail, erm, a piranha ripping you apart. Howlett was weaselling away at this batch of tracks as early as 1998 they can’t all be zingers, but Spitfire alonewas worth the six year wait. While the album’s easily the weakest of the band’s six full-lengths, it’s by no means cack opening track Spitfire, featuring Juliette Lewis, is a venomous, vocal-led assault that also focuses on the guitar/drum crunch the band would perfect on their following two LPs. Many regard the Prodigy’s fourth record, Always Outnumbered, Never Outgunned, as a turd in an otherwise tasty sonic broth. Skunk Anansie’s Selling Jesus and another Nirvana track, this time Smells Like Teen Spirit, are both pilfered for samples plonk that atop obnoxious turntable usage, beefy beats and Flint’s lip curling to the tune of Johnny Rotten, it’s as much a riposte to nu metal as it is a nod to fellow brits Pitchshifter.
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Nu metal was yet to reach its dregs, and some of these tracks – Serial Thrilla in particular – seem almost a response to that burgeoning, mostly American scene. You all know what went down surrounding Smack My Bitch Up and its accompanying video, but one of the record’s most endearing qualities is its acknowledgment of rock music’s trajectory. The Fat Of The Land was released in 1997 and established the Prodigy as genuine legends.
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