on 23 February 2009
Firstly i must say i was a little apprehensive about the new album. After the release of Always Outnumbered, Never Outgunned i thought the prodigy were taking their music in a completely different direction. Don't get me wrong i still think that was an excellent album, production was great, everything hit the right spots, but especially when hearing the tracks live, it didn't really work with the rest of their material.
Now to the new release, Invaders Must Die!
The first thing you notice when listening to this album is the quality of the production, Liam has proven once again that he is the master when it comes to hard hitting beats, insane synths and massive breakdowns. Everything sounds clean and polished, and you can tell a lot of time has been spent making everything work.
No doubt you've heard the opening track a hundred times already on the radio, but it was nice to hear a few changes to the version you might have already heard. This tracks kind of a nod to the last album, and maybe Liam's trying to show us how it should have been done last time.
The second track Omen is our first glimpse back into the oldschool, hard hitting beats, and a piercing synth that takes you right back. I do have one gripe with this track tho, the version they played on radio 1 for the first time a few weeks ago had a slightly different break in it, which i prefer to the one on the album. It does work with the rest of the album though, so it's not necessarily a bad thing.
Thunder is a nod to electro/house but still keeps to the roots of the prodigy's sound, oldschool stabs and a ragga vocal reminiscent of Out Of Space. I expect to hear this one out in the clubs a fair bit.
Next up, Colours, which is more or less a sped up dubstep track, with some decent lyrics from Keith. I like the keyboard work in this track, which sounds very much like something off Experience.
Take Me To The Hospital takes it back to the breakbeat, and sounds like something you would have heard at a rave in the early nineties, but again brings it back up to date with some slicing beats and some quality production.
Next Up, Warriors Dance, which is my favorite track off the album. This track is truly for the prodigy fans who have been their from the start of the prodigy's career. I expect this will be an amazing track live. The breakdown three quarters into the track will have all the cheesy quavers putting their hands in the air.
Run With The Wolves brings us back up to date, with a drum loop that wouldn't have sounded out of place on The Fat Of The Land. It sounds dirty (which is a good thing), and Keith's vocals are quite reminiscent of Firestarter. I love the synth near the end which sounds like it's been lifted straight off a Commodore 64.
Omen (Reprise) truly takes you back to the hysteria years. At a festival this would make the perfect opener to Omen. This wouldn't sound out of place on an Commodore Amiga game. It's a decent filler.
Worlds On Fire is where the album firmly sets it's place as an oldschool/newschool mix. The stabbing synths and jumpy keyboards make sure this will get the entire crowd jumping at a live gig. The keyboards especially sound like something off Experience.
Piranha is the most 'band' sounding track off the album. Haunting synths straight from Scooby Doo, mixed with some oldschool stabs. The vocals work well to bring the whole track together too.
The last track, Stand Up, Is a nod to the narcotic suite from Jilted Generation. Some people may not like it's slow pace, but if you loved tracks like 3 Kilos off Jilted, then you'll take this one to heart too. An upbeat end to a brilliant album.
Overall this album works really well as a whole. I can honestly say i like every track off this album. It defiantly brings the Prodigy sound up to date, but will please fans of the early nineties material too. I never lost my faith in the prodigy like many people did, but this albums proves they can still do it like they used to. The Prodigy are defiantly back!
The Prodigy are back, and with Keith Flint, Liam Howlett and Maxim all back in ranks, this has to be one of the most exciting comebacks - especially after the disappointment of "Baby's Got a Temper", which I quite enjoyed personally, it seems other fans didn't really take to it.
Invaders Must Die has the grittiness and power of The Fat of The Land, the excitement of rave from Experience and the more grungy sound that was introduced in Always Outnumbered. Tracks like Thunder bring back the more darker side of the band, and reminds us of Out of Space - it's raw energy will transfer well on the stage when they gig later this year. Take Me To The Hospital also sounds typical of stuff you'd find on Experience, with the added vocals that you'd find on Music For The Gilted Generation.
Other excellent tracks include the hit "Invaders Must Die", it's prominent synth line reminding us why they are considered top of the electronica tree, and Omen, with it's simple "Out Of Space" sound, breaks, and single finger xylophone lead, really brings me back to 1992, in a good way too.
It's also nice to see Dave Grohl on this, doing live drums for the boys.
This is a top album, I was really glad to get it today and discover the sound that I loved about The Prodigy was back. I enjoyed Always Outnumbered, so I wasn't worried if they had kept to that formula, but the fact they have re-grouped and done a mixture of old and new style really does wonders.
This limited edition box set is great too, 5 7" singles - all coloured and has the whole album on, a CD/DVD (hybrid) which has the album on it, and the DVD side has the video of Omen, and Invaders Must Die. There is also a bonus CD with 4 tracks. It also has two films on there, World's On Fire, and Warriors Dance. Not only that, you get a stencil, Prodigy stickers and a poster.
For me this was worth every penny, excellent.
on 25 March 2009
In a magazine interview, Liam Howlett once said that one of his desires would be to hammer out the theme tune to ITV's now defunct gameshow "Bullseye" on the piano. What a delighful thought, filled with the sort of creativity and humour that the band's first album "The Prodigy Experience" was steeped in. They even dressed themselves up in clown costumes for their early appearances on the rave circuit. Not too many serious frowns back then apparently.
With this, The Prodigy's 5th album, "Invaders must Die" we see incisions rather than full cuts of music sourced from the rave era, combined with the acidic, industrialized style that came to the fore with their last album, "Always Outnumbered Never Outgunned".
Here the boys from Braintree show that while their love for vessel-bursting bass tremors hasn't dimmed over the years, what is missing here is what made them such a unique act in the first place - all of that ranging, inventive, infective energy that made the band stand (briefly) on the shoulders of ravers for a period in the mid 1990s.
Why then is this album such a let down? Simply put, it is in its total lack of variety. Each track screams out, virtually begging to be heard, often by virtue of how vast a wall of industrial booming that Howlett can muster from his keyboards.
Such is this focus on noise for the sake of it that layers of sound occasionally bleed through, an auditory experience which led me to believe that at some point during the mixing process a pack of teen wastrels had managed to jimmy the lock to Liam's studio, before proceeding to crash and pling every button on all systems going - rabid additions that apparently met with the approval of Mr Howlett.
Which brings me to another wretched flaw on the album - the inclusion of vocals from fellow "band member" Keith Flint. (on no less than three of the album's eleven tracks). That jarring, "proper essex boy" leer may have added to the punch of earlier hits like "Firestarter" but here it just sounds like, well, a bloke shouting at you, like you're lookin' at his bird or something.
Not only this, but the idiocy of some of the lyrics he uses reminded me again of young kids trespassing the decks, except this time they're armed with crayons and bubble gum: "Along came a spider, he was creepy like Dracula" Keith rasps on "Take me to the Hospital", perhaps unaware in his haste to satisfy the big boss, (three tracks Liam? Were there not enough cats to mangle on the day?) that just because two words have the same sound at their end, it may not always guarantee a rhyme. Not that I'm suggesting that we should look for dazzling pentameters and delicious syntax in The Prodigy, but a semblance of a melody would sometimes be nice.
Finally, and on a more positive note, the standout track on the album is without a doubt "Warrior's Dance". A storming tune which borrows heavily from the rave/hardcore scene that the band themselves emerged from. Its drenched in the same energy that "Everybody in the Place" and "Charlie" had in buckets. Here for once the fairground and drum and bass lite fuse brilliantly with the band's development into darker, more industrialized beats. Its a rare exception and judging by the rest of the material on display here, the eye to what is a predominantly cynical and towering vacuum of noise.
on 27 March 2009
`Invaders Must Die' opens with a thudding bass line and a melodious guitar riff, which build gradually up until after 16 bars or so, they merge to provide a combined assault on your ears akin to the opening of a Pendulum record. The bass is cranked to 9 Billion, the tune is simple enough to dance to and the song as a whole is catchy as hell. Following the title track is lead single `Omen' - so good that when I first heard it, I swore that I was listening to a track from `Fat of the Land'. "The Writing's On The Wall" was about the only lyric I could gather, but it didn't matter because as with `Fire starter' or `Smack My B Up', one lyric is all you really need to be able to get fully into it.
The opening two tracks are an indication of what to expect on `Invaders Must Die'. `Warrior's Dance' provides contrast for about 30 seconds when it opens with a euphoric female vocal. Very quickly though, the listener is brought back with a bang, and back come the thick and heavy Drum n Bass beats. Where The Prodigy have always excelled, is in selling their distinct sound by varying the tracks just enough to so you don't get déjà vu every time there is a song change, but not so much as to slow the pace of the record. On `Invaders Must Die', this is brought in with great effect. For forty minutes or so, the music infects your ears and causes your body to move, never slowing or treading over old ground.
The chances are that you already know if you are going to like this CD. There's nothing groundbreaking, audacious or controversial on this new release - it is just a good solid piece of work. As exciting as they ever were and ready to get the party going, The Prodigy are back. Nice to see that the boys still have still got it.
on 30 October 2015
Good album with some new and interesting songs for the band, the final song for example wouldn't be amiss from a rocky film due to the image of victory it conjures forth. Some tracks such as Omen retain the usual Prodigy edge, though these moments are few and far between. Buy this if your looking a new twist on familiar flavour, fat of the land 2 this is not.
on 21 May 2014
I listened to the album and decided I loved it. I then decided to buy it and i'm really glad I did! I love almost all of the songs on it, and the best thing was how many songs I got for the price. I was very happy that I could download the songs and listen to them before the CD came, but when I realised that I had the original songs and quite a few remixes as well I was very happy. So now I'm quite pleased with myself for buying this :)
The Prodigy may have been the only band making rave music that rocks back in 1992, but there are plenty of them around now and "Invaders Must Die" is not the standout piece of genius that some reviewers might have you believe.
Liam Howlett has obviously been listening to Pendulum's albums over and over, as there is a *massive* Pendulum influence on tracks like "Invaders Must Die" and "Omen". In fact in places this album sounds a bit like a collection of Pendulum B-sides. Add in other bands like Noisia, Far Too Loud, Deekline & Wizard, Cut & Run, Qemists, and more, and the Prodigy are no longer a unique force in music.
But although it's not very original, it's still pretty damn good in places, and sounding like Pendulum is no bad thing. However too many of the tracks are based on one idea (breakbeat, guitar, rave noise, bosh) and it lacks the variety and depth of previous albums like "Fat Of The Land". The funk-sampling last track "Stand Up" is the only one that really breaks that mould.
It's let down by some awful lyrics ("your world is on fire, and it's about to expire".. hmmm, hardly the finest political commentary Keith). However if you're in the mood for loud, noisy music and you don't give a damn about anything else, then "Invaders Will Die" should do you nicely.
on 31 May 2014
I discovered The Prodigy too late to really enjoy them at their height, but I've made up for that since then and this album is one of the best I've heard, not a single bad song on it and well worth buying, it would also make a good introduction to what was a great group.
After what feels like forever for waiting for this to come out, I've finally got a copy of the *real* `Invaders Must Die' album with all of the official tracks and it is nothing short of perfection. Going back to their original and best style of rave, house, dance, big beat and electronica, Liam Howlett and came up with easily the best dance album since Music For the Jilted Generation in 1994 - it is so good! Liam, Keith and Maxim are back!
The first track I'd heard off this album was the title track" Invaders Must Die" which, although great, it was more their newer sound than their old. Their second single "Omen" however is a full-on techno masterpiece, keyboards, vocals from Keith and Maxim - absolutely brilliant! I also saw The Prodigy live at the V Festival last year where they gave us a sneak preview of the excellent "Warrior's Dance" (which is very similar to No Good Start the Dance) and "World's on Fire" which again are very old-skool and go back to how The Prodigy sound best.
The rest of the album is absolutely superb with not one bad song - "Take Me To The Hospital" is probably my favourite tune on the album which I cannot begin to explain how brilliant it is. "Thunder" is very reminiscent of the classic song like Out of Space. "Piranha" , "Colours" and "Running With the Wolves" are also great tracks that will again turn out to be classics, I guarantee it! "Omen Reprise" should really have been a lead out or lead out of "Omen" but is still a decent track, probably the weakest on the album. The last song on the album "Stand Up" is a great finish as it is quite slower paced than the rest of the album but still keeps the big beat in there.
Overall this is without a doubt the best dance album I've heard in about 15 years and hopefully will bring life back into the rave scene. Forget Always Outnumbered Never Outgunned as The Prodigy are back and better than ever!
on 8 July 2009
I can rarely be bothered to take time to write a review but The Prodigy most definitely deserve my gratitude and respect for this album.
Those of you that grew up with The Prodigy's 'Experience' album and still rate it amongst the favourites in your CD collection as I do will love 'Invaders Must Die'. I can't believe how good it is - not many albums contain so much top-quality material.
'Invaders Must Die' is a clear acknowledgement of the fact that the 'Experience' album of 1992 is the only one that contains true anthems that you might still hear in a mainstream club. The later albums, whilst still certainly good in their own right, were notably moodier and less memorable. This one takes you right back to those early days of uplifting tunes.
Whilst the second CD of 'The Singles' set contained some lively, updated remixes of a couple of those early anthems and were very enjoyable, this album is completely new. Quite possibly as good as the 'Experience' album, if not better, it's a modern take on what it was we loved about the early stuff, although there are fewer lyrics. Something also worth noting was that I didn't spot a single amazing sub-bassline to 'wow' your friends with as it booms out of the back of your Nova GTE (or whatever it is that the cool kids are driving these days). That's the only single and very minor disappointment for me but maybe it was sensible - these tracks should sound just as good on the radio as they do on CD, in your bedroom, in the lounge, in your car and in a club .... so this should increase their popularity and airtime, boosting sales. Nearly twenty years on, there's a whole new generation of bedroom ravers so Liam and the boys may well have just doubled their market with this effort. Right from the start, tracks such 'Invaders Must Die', 'Omen' and 'Thunder' are instant classics.