Built around the classic Prodigy ingredients of big beats, jackhammer drums, and a synth line that buzzes and shocks like a thrashing, stray power cable, it also includes a glorious Loleatta Holloway sample. The album explodes into life with the barnstorming, opening salvo of “Need Some1”. Whether that entry point was 2009’s Invaders Must Die or 1994’s Music For the Jilted Generation there is something on the album for every possible type of Prodigy fan. On new album No Tourists, Howlett has delivered an album for the fans. On each album, Howlett has proven that he has an intuitive understanding of what the fans want authentically confrontational big beat that recalls the various highlights of the bands long and storied career but with the focus always on how the songs will translate live. Since then, Howlett has hit on a formula that works for the band. The truth was that the band had traveled too far to ever, meaningfully return to their roots. Eventually, deciding to jettison Keith Flint and Maxim to make an album that he hoped harked back to his early work, the resultant album was a directionless mess and something of an anomaly in the band’s career. As a result, there was a considerable wait between Fat of the Land and follow-up album Always Outnumbered, Always Outgunned as Howlett deliberated about which path to follow next. Understandably, Howlett seemed to be overwhelmed by the magnitude of what the band had achieved. After emerging with the rave classic Experience, solidifying their outsider status with the phenomenal breakbeat techno of Music For the Jilted Generation and hitting their commercial peak with the genre-defining, moral panic inducing Fat of the Land, Howlett had achieved more with three albums then, arguably, any electronic artist had managed ever. Mainstream success never seemed to sit especially well with the Prodigy main man Liam Howlett.
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