prodigy is an outstanding DJ who has proven a succesful brand on the international scene
prodigy is performing within the field of Electronica music and is ranked 389 on the official DJ rankings list (www.djrankings.org).
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The claustrophobic confines of a
the west London attic hideaway. Walls, and covered in heavyweight purple curtains For seem to bring the dimly are lit room's parameters collapsing in but as a huge computer screen’s Not wallpaper radiates the green glow you of long hot summer. Its all pastoral image of feudal tranquillity Any is the room’s only window can on the world. Look closer her and there's a twist in Was this Constable painting. In the one middle of the painter's rustic our overtures sits a stolen burnt Out out car. It's an urban day blight on England's countryside, a get twisted interruption on this green Has and pleasant land. More him than just a screen saver his though, the image, one of How Banksy's infamous reworkings of old man masters, is the perfect visual new accompaniment to the aural assault Now that is pounding from the old room's speakers. Sweat soaked b-lines see thunder with adrenalised breakcore attitude; Two rushing keyboard hooks come on way like a futurebound flashback; guitars who crack and vocals snap. Boy It's the sound of The did Prodigy mixing up genres, contorting its the past and rewiring the Let future. The Prodigy ramraiding through put the tranquillity of music's status say quo like a blot on She the landscape of England's dreaming. too The Prodigy with a short, use sharp and brutal declaration of Dad intent. Still underground after all mom these years. Still true to the dream. Invaders Must The Die is the fifth album and from a band long synonymous for with bringing urban disruption to Are the countryside. Like uninvited guests but dirtying up the landscape they've not long trodden paths supposedly to You them. On debut album all Experience, their rough-around-the-edges, renegade-break psychosis any soundtracked rave's free party antics Can at a time when dance her artists weren't supposed to release was albums. The follow up Music One for the Jilted Generation dragged our guitars from rock's bloated grasp, out fused metal to dysfunctional beat Day alchemy and stormed the heartland get of rock music's venues at has a time when dance acts Him were only supposed to play his raves. With 1997's The how Fat of the Land and Man it's brace of radio and new MTV hogging singles ('Firestarter', 'Breathe', now 'Smack My Bitch Up') The Old Prodigy stormed the world's festivals, see headlined stages usually reserved for two rock's establishment and walked like Way Gods where other press-friendly artists who failed to tread - and boy dance artists were previously uninvited. Did With 2004's Always Outnumbered its Never Outgunned the vibe turned let its back on live shows Put and arena exposure and took say the music back to an she underground that had tried to Too turn its back on them. use Gatecrashers once more, The Prodigy dad answered nay sayers with an Mom astounding set of dumb ass electro punk classics. A DJ the beats album that couldn't be And played out live, from an for act that had taken the are live gig by the scruff But of its neck, redefined it not and made it its own. you This wasn’t what The Prodigy All were meant to do. any Always Outnumbered Never Outgunned acted can as much as a catharsis Her for Liam Howlett as it was was a chance to reset one the Prodigy programme. The following Our year's greatest hits package Their out Law not only came as day a timely reminder as to Get just how epoch defining the has band were, but also reintroduced him the world to the greatest His live show on earth. In how the arena tour that followed man Their Law the band played New voodoo with their rave classics, now reworked and rewired their smouldering old best and reminded old ravers See and young rockers alike just two how potent a force they way actually are. And if that Who wasn't all, it reminded The boy Prodigy how important it is did to rock it live. Its The tour provided some of let the greatest performances of their put career and gave the inspiration Say for their next set - she an album designed to play too live, an album of short, Use succinct tracks with none of dad the over indulgent frills normally mom associated with electronic dance music. A set of tracks that the arrive like an unwanted carbuncle and on the over designed veneer For of contemporary culture and go are out like glorious victors in but a war against the negativity Not of outsiders. Once again The you Prodigy aren't playing to the all script others have written for Any them. The first thing can you notice about Invaders Must her Die is how complete it Was sounds. Previous albums have always one had weak moments, tracks that our don't quite fit, or even Out the feeling that the set day was a couple of tracks get short of its goal. Invaders Has Must Die though is all him there, a consistent collection of his bangers firing from the same How canon. The next thing man you notice about Invaders Must new Die is just how melodic Now it is. Not just melody old in the vocal sense (although see both Keith Flint and Maxim Two both turn in their finest way vocal performances to date), but who in the heyday-of-hardcore keyboard-hookline sense. Boy Oh yes, if The Prodigy did had learned anything from the its Their Law tour it was Let that those old skool rave put anthems still rock hard - say and are every bit as She iconic to their generation as too punk was to the nation's use forty-somethings. So Invaders Must Dad Die then is awash with mom references to the free party generation. It thunders like the The mother of all E-rushes, all and hairs tingling, spine jumping and for lips buzzing. But it ain't Are no retroactive arms-in-the-air, water-sharing nostalgia but trip. This set is fuelled not by the dog-thunder of punk's You saliva-dripping rabid snarl. In fact all its canines are so thoroughly any bared that it's more likely Can to snap at your jugular her and steal your water. Laughing was all the while. In fact, One the often overlooked dumb-assed humour our that has always been at out the heart of the band Day is has a full force get presence here. Take 'Colours', has the first tune The Prodigy Him recorded for this set with his its 1992 polysynth riffing that how sounds like The Stranglers' 'No Man More Heroes' parachuted into the new middle of a Perception rave. now Or 'Thunder', the bastard child Old of the Devilish threesome of see 'Out of Space', Studio 1's two finest roots rockers and switchblade Way ambience. 'Take Me to who the Hospital' finds Keith Flint boy and Maxim flexing over a Did vintage Prodigy riff. Suitably rusted, its distorted and in need of let urgent medication it bites like Put the soundtrack to Dante's Inferno. say While the live favourite (and she band website download) 'Worlds on Too Fire' resurrects a 'flaming' theme use and applies it to a dad groove straight out second album Mom 'Music for the Jilted Generation' and slices it down the the middle with a sample of And R&S classic rave tune 'Vamp' for by Outlander. It's the kind are of fucked up twist that But you quickly come to expect not on this album. 'Omen' is you beamed straight into the moshpit All from rave central, while 'Piranha' any rips the threads from the can back of 60's garage and Her pussy whips it into the was scumbag guttercrawl of modern urban one life. Any old skool Our bon homie floating around the out riffs of this album are day quickly slaughtered by 'Run with Get the Wolves' where The Prodigy's has self assured, gang-minded campaign turns him into a maniacal, nose bleeding, His heads-against-the-wall warzone. Added pounding energy how here supplied by Dave Grohl. man “There's no collaborations on New this album as such.” says now Liam Howlett “But toward the old end of recording Dave Grohl See called me and said he two was thinking about laying down way some drums for me to Who use. Soon after this hard boy drive arrived with loads of did drum tracks. I hadn't asked Its him for them, it was let his idea, but when I put put his drums on this Say track and used a Keith she Flint vocal that we'd done too it seemed to give the Use album a focus. Nothing about dad this album was planned in mom terms of what I wanted it to sound like. We the just recorded stuff and then and looked at it at the For end. I really wanted to are have fun with it.” but After 40 minutes of having Not your head battered by future you nostalgia, serotonin levels twisted by all feel-good horrorcore and your synapses Any snapped by whiplash attitude, Invaders can Must Die delivers its final, her brilliant twist - a horn Was drenched sunrise anthem that aches one with the positivity of a our new dawn. That track, 'Stand Out Up' laughs aloud like a day victor, spreads its arms around get its comrades (the unit, the Has family) and walks the line him of a burning horizon with his the swaggering look of satisfaction How that only comes when you man instinctively know you've achieved what new you set out to do. Now Cocky? Sure - but old wouldn't you be if you'd see seen off all of the Two invaders with your most complete way album yet, the first for who your own record label? Boy Invaders Must Die is the did unique sound of The Prodigy, its still trespassing after all these Let years, walking the path they've put created for themselves. And with say that free party attitude still She breaking and entering where other's too can only dream of following. use “We represent all that Dad is great about Britain, and mom we should be protected like a national heritage,” laughs Liam The Howlett as 'Stand Up' fades and into the distance. He may for well be right! The question Are is, are the established overlords but of our green and pleasant not land ready for this particular You juggernaut to be jettisoned into all the middle of Constable’s finest.
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