![]() The deranged, head-spinning synth of ‘We Live Forever’ comes laced with a scything vocal sample that recalls the one that dipped and dived throughout 1992’s bashment-influenced ‘Out Of Space’, while the garrotting guitar line that punctuates ‘Light Up The Sky’ nods to 1997 rap-rock banger ‘Breathe’, taken from classic crossover album ‘The Fat Of The Land’. ![]() This is the kind of record you can only make nearly three decades at the frontline of dance music. The album’s not quite a return to Prodigy’s early days – there’s so much more menace here than borderline-novelty singles such as 1991’s ‘Charly’ ever possessed – but it does take touchstones from their previous records and beat you over head with them. That was the tiny venue in which frenetic rapper Maxim, anarchic punk vocalist Keith Flint and brooding songwriter Liam Howlett played their first show back in 1990, for the princely sum of £100.Ģ8 years later, and ‘No Tourists’ – somewhat counter-intuitively – finds them sounding more violent and fearsome than ever. It’s in the destination sign of a London bus that lurks in the shadows: “Four Aces, Dalston”. There’s a telling detail buried in the album artwork of ‘No Tourists’, The Prodigy’s seething seventh album, which shows no signs of the Essex ravers mellowing out.
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