The Prodigy The Day Is My Enemy

Daytime is the least of the British trio’s problems. The Prodigy has veered away from its signature big beat sound only once (2004’s Always Outnumbered, Never Outgunned), a move as well-received by the fanbase as 1997’s “Smack My Bitch Up” was by the National Organization for Women. As such, it retreated back to its nihilistic fun-house rave sound, where it remains on its latest effort, a plodding, derivative exercise in empty rage that blatantly mines from its 1997 smash The Fat of the Land (see: the title track, “Medicine” and “Rebel Radio”). Throwaway exhortations by vocalists Keith Flint and Maxim remain a problem; even guest rappers Sleaford Mods underwhelm on “Ibiza,” the two rattling on about—as irony would have it—electronic dance figures who are “so darn dull.” One needn’t look further than another release from this week, Jenny Death by Death Grips, to find a more inspired and compelling example of synthesized fury.