The video for ‘Need Some1’, a high-octane new track with abrasive elements familiar to all Prodigy fans, is directed by Paco Raterta and follows a rage-fuelled, guitar-smashing protagonist who goes on a bender through dark city streets – distinctly reminiscent of the notorious banned video for ‘Smack My Bi*** Up’ in 1997. And until we feel like we can’t do it, or the buzz goes, we won’t stop.” This is what I do it for: the live thing. “I couldn’t write this music unless it has that outlet on stage. “That’s the one thing that brings everything together,” he explained. Howlett also said No Tourists is “equally aggressive as the last records – but in a different way,” and has been written explicitly with the thought of how it will be rendered in live performances. More: The Prodigy reveal solitary UK festival date for 2018 Don’t be a tourist-there is always more danger and excitement to be found if you stray from the set path.” “To us, No Tourists is ultimately about escapism and the want and need to be derailed. Written and produced by the group’s creative engine and founding member Liam Howlett over the space of the last year at his studio in London, the new record came with a written explanation of its themes and motivations. Choose from Same Day Delivery, Drive Up or Order Pickup.
#The prodigy no tourists series
They also announced a series of tour dates over the coming year, which can be found via their official site. Read reviews and buy Prodigy - No Tourists (Vinyl) at Target. It’s the follow-up to 2015’s well-received The Day Is My Enemy, and, with just a three year gap, is the shortest wait between any two Prodigy albums since the 1990s. The group’s seventh studio record will be released on November 2nd via BMG/Take Me To The Hospital. Viva The Prodigy.British dance legends The Prodigy have announced details of a new studio album to be called No Tourists, as well as releasing its first single, titled ‘Need Some1’. This is equally aggressive but a bit more melodic. The last record 2015’s The Day Is My Enemy was quite violent, says Howlett. Its combination of sharp hooks with bone-rattling beats and basslines is flame-sealed by the trio’s anger and intensity. But they don’t need the endorsement of newer musicians: this is a brilliant – and brilliantly brutal – collection pulsing dance music that, for all its heaviness and techno sensibilities, retains a glimmer of pop accessibility because it’s so well pieced together and just so much fucking fun. Even with its nods to the past, No Tourists sounds fresh. Newark horrorcore punks Ho99o9 turn up on the lithe, grisly ‘Fight Fire With Fire’, an indication, perhaps, that Prodigy’s fingers remain on the pulse after all these years.
‘Champions of London’ is the hardest The Prodigy have ever sounded.
#The prodigy no tourists free
That ‘Light Up The Sky’ guitar riff creeps up like a rusty chain looped around your waist: try to wriggle free and you’ll be sawn in two. But for the most part, this is a dizzying record, bristling with composure and confrontation. Genius occasionally takes leave – the repeated lyrics “ Boom-boom tap / Ba-ba-boom tap” become pretty annoying pretty quickly on, er, ‘Boom Boom Tap’, for instance. The layers of vocals, howling synths and clattering beats on ‘We Live Forever’, the marching build-up and the pitiless drop – this is the stuff of crazed nightmares. It’s the smartest dumb record you’ll hear this year. Howlett, the group’s songwriter, is an indisputable master of his craft and demonstrates stunning prowess across these 10 tracks. This is not nostalgia it’s The Prodigy utilising every weapon in their arsenal to commit their sonic assault.Īs Flint alluded to in their recent NME interview, Prodigy’s music is mainly about massive beats and shouted, minimalist vocals – it’s pretty simple, really – but here that simplicity is (dare we say it?) touched with genius. 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.