Take Me To The Hospital

Review: Since defining the band's hybrid rock-rave sound with 1994's "Music For The Jilted Generation" and 1997's "The Fat of the Land", Prodigy main man Liam Howlett has largely stuck to his guns. He is, after all, incredibly good at what he does, and the formula has given us a string of bombastic, full-throttle singles and albums that have lasted the test of time. "No Tourists", Howlett and company's first full-length in three years, offers plenty of trademark festival-friendly workouts, hard-wired dancefloor smashers and fuzzy, all-action cuts. Judged on these terms, it's a triumph. Fans of the band's trademark brand of slamming sonic hedonism will love it.

Review: Since defining the band's hybrid rock-rave sound with 1994's "Music For The Jilted Generation" and 1997's "The Fat of the Land", Prodigy main man Liam Howlett has largely stuck to his guns. He is, after all, incredibly good at what he does, and the formula has given us a string of bombastic, full-throttle singles and albums that have lasted the test of time. "No Tourists", Howlett and company's first full-length in three years, offers plenty of trademark festival-friendly workouts, hard-wired dancefloor smashers and fuzzy, all-action cuts. Judged on these terms, it's a triumph. Fans of the band's trademark brand of slamming sonic hedonism will love it.

Review: Some seven years on from their last album, Invaders Must Die, The Prodigy returns, seemingly as angry, frustrated and overheated as ever. The Day Is My Enemy sees Liam Howlett and his band of merry men revisit the glory days of Fat Of The Land, smashing together a typically in-your-face blend of rugged electronics, rock-tinged riffs and bombastic beats (including, on "Rebel Radio", what appears to be the breakbeat used on "Firestarter"), with similarly full-throttle vocals. There are a couple of notable guest spots - including men-of-the-moment Sleaford Mods on the standout "Ibiza" - but for the most part it's business as usual, with Howlett conjuring up music that should keep their legion of fans happy whilst reasserting their authority as world leaders in rock-tinged EDM.

Review: Some seven years on from their last album, Invaders Must Die, The Prodigy returns, seemingly as angry, frustrated and overheated as ever. The Day Is My Enemy sees Liam Howlett and his band of merry men revisit the glory days of Fat Of The Land, smashing together a typically in-your-face blend of rugged electronics, rock-tinged riffs and bombastic beats (including, on "Rebel Radio", what appears to be the breakbeat used on "Firestarter"), with similarly full-throttle vocals. There are a couple of notable guest spots - including men-of-the-moment Sleaford Mods on the standout "Ibiza" - but for the most part it's business as usual, with Howlett conjuring up music that should keep their legion of fans happy whilst reasserting their authority as World leaders in rock-tinged EDM. ( 3LP edition with poster + 3D lenticular art print + MP3 download code)

Review: Since defining the band's hybrid rock-rave sound with 1994's "Music For The Jilted Generation" and 1997's "The Fat of the Land", Prodigy main man Liam Howlett has largely stuck to his guns. He is, after all, incredibly good at what he does, and the formula has given us a string of bombastic, full-throttle singles and albums that have lasted the test of time. "No Tourists", Howlett and company's first full-length in three years, offers plenty of trademark festival-friendly workouts, hard-wired dancefloor smashers and fuzzy, all-action cuts. Judged on these terms, it's a triumph. Fans of the band's trademark brand of slamming sonic hedonism will love it.

Review: Since defining the band's hybrid rock-rave sound with 1994's "Music For The Jilted Generation" and 1997's "The Fat of the Land", Prodigy main man Liam Howlett has largely stuck to his guns. He is, after all, incredibly good at what he does, and the formula has given us a string of bombastic, full-throttle singles and albums that have lasted the test of time. "No Tourists", Howlett and company's first full-length in three years, offers plenty of trademark festival-friendly workouts, hard-wired dancefloor smashers and fuzzy, all-action cuts. Judged on these terms, it's a triumph. Fans of the band's trademark brand of slamming sonic hedonism will love it.