Take Me to the Hospital/BMG
Few bands captured the early-1990s zeitgeist as effectively as the Prodigy. Outdoor raves – notably the huge Castlemorton Common festival in 1992 – were seen as a such a threat to public order that John Major’s Conservative government brought in the Criminal Justice and Public Order Act in 1994, to outlaw gatherings of people dancing to “repetitive beats”. Although this could technically mean anything from Orbital to Morris dancers, Prodigy tracks such as Their Law soundtracked the music community’s fightback. As dance music shifted indoors and into the mainstream, 1994’s double platinum Music for the Jilted Generation defined an era.
Some 24 years on, producer Liam Howlett and dancers-turned-MCs Maxim Reality and Keith Flint don’t greatly deviate from a formula that has served them (albeit with slightly diminishing returns) ever since. Synths stab all over the place. Sub-bass rumbles like an earthquake, and Light Up the Sky’s electronic riffs rock like AC/DC. The two vocalists yell over the racket – but not often enough, bar an occasional “Shut your motherfuckin’ face” or the title track’s “No tourists, nothing to see”.
Continue reading...by Dave Simpson via Electronic music | The Guardian
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