Published on Jan 10, 1998
If I had to pick a band as being the most refreshing of 1997,
this would be it. Forget all the controversy over the first song on
the album, “Smack My Bitch Up,” Prodigy’s
The Fat Of The Land is a refreshing departure from the flood
of die-cast “modern rock” we’ve been forced to listen to lately.
Let’s face it, much of the “modern rock” released in the last year
or so sounds very similar; there isn’t too much that distinguishes
one sound from the next. With rock music tied up in this rut, I
couldn’t wait for something interesting to hit the music scene.
Enter Prodigy.
The interesting thing about Prodigy is that they’re really not a
rock band at all, but they received huge rock radio airplay.
They’re tough to categorize. If this were the ’80s, I’d say they
were pop, but the ’90s seem to have blurred all those old
distinctions, so I’m not sure that’s the correct term. They’re an
interesting concoction that shows techno, rap, industrial and metal
influence, what I’d call a “modern-fusion” band.
Unlike a lot of bands that live or die by their vocalist,
Prodigy concentrates on writing a catchy tune first, and accents
the music with fairly sparse lyrics. Rather than have the lyrics be
the focal point, Prodigy’s vocals serve as a means of spurring the
song along, not intending to convey an elaborate meaning.
Nevertheless, the lyrics are catchy, but never fancy. “Serial
Thrilla” jogs along with lines like,
“Damage Destructor…
Cry Disruptor…
You Corruptor..
Every time I…”[sic]
In other words, if you’re looking for deep meaning in your
music’s lyrics, you won’t find it here.
But what little this album offers lyrically, it makes up for
musically. Quite simply,
The Fat Of The Land has some of the most interesting
arrangements of sounds I’ve ever heard. From the album’s radio hit
“Firestarter,” to the album’s most rap-influenced song “Diesel
Power,” you’ll be treated to crushing bass mixed perfectly with
piercing treble. The album’s production is a real masterpiece.
There are so many different things happening tonally on this
album, that it must have been agonizing to separate everything so
it wouldn’t become lost. The result is amazing clarity that will
really surprise you, provided you aren’t still using the same
speakers that were underwater during the flood.
The Fat Of The Land is a studio creation. It’s full of
samples and synthesizers, and relatively few live guitars. If this
is OK with you, I’d recommend this album. As with all techno-styled
music, the album will begin to sound repetitive to those who don’t
care for this style. But the album has influences from many musical
styles, so you’re likely to find something here you’ll like, as
well as a cool disc to play at parties. Hit the lights!