А Вот коментарии к альбому самих PRODIGY:
THE FIFTH ALBUM FROM THE PRODIGY
Released Monday 23rd February
Invaders Must Die is the sound of The Prodigy mixing up genres, contorting the past and rewiring the future. It’s the sound of The Prodigy ram-raiding through the tranquillity of music's status quo like a blot on the landscape of England's dreaming. Still underground after all these years, still true to their vision, the album thunders like the mother of all E-rushes, hairs tingling, spine jumping and lips buzzing. Guitars crack, vocals snap and sweat soaked b-lines attack with adrenalized breakcore attitude while rushing keyboard hooks come on like a future bound arms-in-the-air flashback. But it ain't no retroactive water-sharing nostalgia trip. This set is fuelled by the saliva-dripping rabid snarl of the here and now.
Liam: “Three years ago we decided the band was in a good place and wanted to make the record. There had been quite a bit of paranoia then, people were starting to infiltrate our unit, starting to bleed into what we were and we needed to re-establish ourselves as a unit. Can’t remember whether it was Keith or Maxim that said it, but one of them went, ‘fuck it, invaders must die!’ I was like that’s the album, title right there. It stayed with us. It’s about protecting what’s yours. We’re not fucking around man. We are The Prodigy…!”
TRACK BY TRACK
INVADERS MUST DIE
“In-vader-vader-vader… we are the Prodigy”
A roughed up statement of defiant intent, the band’s first ever album title track is a blistering war cry where a shuddering, pulsating bass explodes through serrated edged beats and celebratory synth hooks.
Liam: “The first tune on any Prodigy album has to be got to be something that just tears and smacks you round the head really. ‘Spitfire’ was like that on the last album, ‘Smack My Bitch Up’ on the one before. This does it in a different way. It’s a very abrasive sounding electronic track, kind of different to anything we’ve done before. I wrote the riff about a year ago on my laptop when I was on a plane. It sounds like the kind of thing I would have written in 1992, sort of has that rave melodic feel with tearing track underneath, I had the track 60% there and hooked up with James from Does it Offend You Yeah and he pulled the missing links out of the bag. A good hook up and a different sounding Prodigy record.”
OMEN
Beamed straight into the moshpit from rave central via a contorted fucked up take on the skanking synth hooks of ‘Your Love’, thundering breaks and a one finger salute of a vocal line.
Liam: “It’s a tune we love. Very anthemic, more melodic than our usual stuff and kind of like ‘Breathe’, with its seething energy. ‘Omen’ is typical of how we worked on this album. It came together a bit at the time. We didn’t finish one track completely at a time. We’d do something and then come back to it a few months later. We had this vocal hook originally on a much slower piece of music. As the rest of the record came together, it became easier to see what it needed to be. James popped up with a few sounds and it was finished near the end.”
THUNDER
The bastard child of the Devilish threesome of 'Out of Space', Studio 1's finest roots rockers and switchblade ambience.
Maxim: “The vocal came from a time we were looking for ideas and samples and I gave Liam a CD of pure Studio 1 and he found this vocal by the Brentford Allstars. He took it and got a vocalist called Brother Culture to record it with a new melody and different words.”
Liam: “Yeah, we ripped the vocal off from the original, cos that’s our business, that’s what we do, we’re pirates, we steal things and make them our own.”
COLOURS
Four tracks in and it’s time to show your colours and nail them to the floor. The rabble rousing battle-cry of ‘Colours’ features 1991 polysynth riffing that sounds like The Stranglers' 'No More Heroes' dipped in lysergicly enhanced psychotic 60s garage and dropped into the middle of Castlemorten.
Keith: ”One of the first tracks that we felt started to get the sound we were looking for. Up until then we’d been writing complete songs in our lyrics first, music second kind of way, but we realised that wasn’t the way of the band. The energy comes from the music first and danger of the beats and the bass line, and the energy from that. ‘Colours was written in an unorthodox way for the band. It’s one of the biggest songs on the album.”
Liam: “Yeah, it’s written in a trad way. It has a Stranglers ‘No More Heroes’ feel. One of the earliest tunes to be finished.”
TAKE ME TO THE HOSPITAL
Keith and Maxim flexing over a venomous but vintage Prodigy riff. Suitably rusted, distorted and in need of urgent medication it bites like the soundtrack to Dante's Inferno. Welcome to the scene of the crash.
Liam: "Straight up buck wild! Taking inspiration from early Prodigy but spitting out in a 2009 style. This tune is a car crash of all 3 of our personalities and inspirations. Keef’s unhinged vocal, Maxim’s ’91 East London warehouse ragga shit and my bomb squad inspired production.”
WARRIOR’S DANCE
A jabbing, adrenalized octave-snarling b-line wraps its coils around a lamenting Eastern refrain before erupting into an anthemic, hands in the air, e-rushing epic, and a vocal hook that’s guaranteed to bring a gurning flashback to faces of the rave generation.
Liam: “This was the turning point of the record. Probably about the fourth or fifth track to get written. I was having problems with the album about half way through and we just decided to write this song to play live at one gig, just to take the pressure off the album. We were thinking that maybe the track would never be played again live and maybe not even get on the album. It’s a total look back to 1990-91 rave era. I thin it surprised us how fresh it sounded.”
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