Music For The Jilted Generation

The Prodigy somehow made AI Slop before the advent of AI. It sounds like a dial-up modem having angry sex with a fax machine. This album sounds like a collection of songs that made their way in to a generic, shovel-ware Playstation 1 game. This music is edgy in the same way that a Hot Topic store is. Music to wear Jnco Jeans to. Don't forget your chain wallet! I've already had "Fat of the Land." That's more than enough Prodigy for an "albums you must hear" list. 2 stars.

I don't think they were jilted until they listened to this ...

1/5

11/4 Good 90s techno

Good electronic album.

Fav: Skylined L: One Love 1.5 I don't know man, kind of sounds like music they would play in a laser tag arena. Maybe if it wasn't so repetitive... Actually if the songs contained all the movement they did and cut out all the repetition they'd be kind of cool. They would be way shorter but I think I'd prefer that. Cover: 3.5 kind of cool, fits the album I think Name: 3 gen x whining vibes Minecraft Parody: Minecart (Speedway)

В целом не поняла хейтерские коменты. Это продолжи так звучит. Круто

1994 -- 2nd studio album -- English breakbeat hardcore / hardcore techno / rave; "heavy basslines and energetic, aggressive beats"; "helped define the 90s electronic music scene"; "innovative approach to electronic music, pushing the boundaries of dance and rave genres"; "throws much darker shapes" and "slams harder and rawer and covers more ground"; "the album is largely a response to the corruption of the rave scene in Britain by its mainstream success, as well as the United Kingdom's Criminal Justice and Public Order Act 1994, which criminalised raves and aspects of rave culture.[3] This is exemplified in the song "Their Law", with the spoken-word intro and the predominant lyric: the "Fuck 'em and their law" sample." Rave music, oof. I listened while I did chores but I fear I would only enjoy this if I were x'ed out in a forest disco.

*an ok album, I thought it hard to listen to.

Schok ff van de albumhoes zo vroeg in de ochtend. Wat me opviel is dat de sound over het algemeen wat analoger klinkt dan het nieuwere werk. t Klinkt wat warmer en zachter in dat opzicht. Ik vond t album wat aan de lange kant, maar de nummers hadden op zich ook wel genoeg leuke earcandy-dingetjes wat het ook wel weer interessant hield.

Classic. Love this

Wow, that was long. Despite this, "MftJG" was quite good. There were a few great tracks like "Voodoo People" and "Break and Enter". I probably would've enjoyed "MftJG" more if its tracks were a tad shorter. It could have been as great as "Fat of the Land". 3 stars for "Music for the Jilted Generation".

wow, that's hardcore disco. in my memory, it's a mixture of playing WipeOut on the PS and rollercoaster on a faire. high adrenaline! memories almost worthy of 4 stars, but alas. i've grown old and weak.

Another one where it’s great if one is in a club. As I was not, I cooked and cleaned to it.

I wish I loved anything as much as Robert Dimery loves shitty 90’s British techno.

Voodoo People Poison No Good (Start the Dance)

Ok! Got better when they added Keith later

I like this. The album loses a star for how freaking long it is, but gains a star back for Prodigy guy's hair.

They must’ve been really jilted

wel leuk maar op een gegeven moment wel te veel

I was surprised that I didn’t hate this. It’s fine background music for the apocalypse.

What great music was made on drugs? Bowie, obviously. Floyd, the Prodge, Aphex... the list is endless really. MFTJG is an album to beat that car battery Super Hands nicked off The Prodigy. I admit I am the wrong person to ask for opinions on the Prodigy since I am squarely the exact target audience for their big beat manifesto. Developed an appetite for filthy DnB mixes in my teens with the same sort of rosy nostalgically-adolescent affinity you have for the first pair of pornstar tits you downloaded. Like most gacked-out electronic warehouse classics from The End of History you've usually got to develop your taste for its bitter brown-liquoresque milieu when you're either 15 years old or chewing gum on three figures of illicit substances. What evolves from that is an appreciation that, not unlike a meat smoky glass of Macallen, is hard but smooth on the palate once you can stop rolling your eyes over it (okay maybe not *so* top shelf, but you get my point). All these club-DJ sweaty cross-eyed staple CDs suffer from the same pattern of consumption problem in that if you're listening to them tip to toe without he accompanying sense-pleasures you're missing out on the intended experience. It's like taking uppers for a relaxing read-in at home. Even the more 'creative' sampling choices grew on me eventually. Liam absolutely knocks it out of the park as usual on No Good with that sped-up vocal loop. Somewhat unfortunately the best song on (off) the album is the Pendulum remix of Voodoo People. So it not quite as great as Fat Of The Land, but what is? Fav tracks: Their Law, Poison, Voodoo People, No Good

I don't really need an album in my life with 7-minute songs that sound like car alarms. I'm also not entirely sure what's noteworthy or original about this album.

10/27/26. I was surprised on how much I liked this. Another genre I typically don't listen to, but for some reason this pulled me in with its intensity and darker sound. I'll need to re-evaluate The Prodigy.

Worse than The Fat of the Land, but not bad. A nice mix of styles.

Maso

Okay, so I've never given The Prodigy a chance. I don't know why. Breakbeat wouldn't even be my tenth guess when it comes to the kind of music they make. For some reason, I was convinced they were somewhere in the rock sphere. Metal or something like that. But clearly, that's not the case. It's interesting and boring at the same time. Captivating, yet it makes me want to skip every song. I'm very conflicted about this album. It's not my cup of tea at all, and I'd never willingly listen to it, but it does have some cool sounds, even if they're beaten to death, revived, and given one final punch. That's my problem with this genre: it's too repetitive. At least make the songs around three minutes long if you're going to do stuff like this. I'm not going to touch on its influence since I'm not tapped into this genre at all, but as a whole, it's not a terrible album.

Listened to this while I cleaned, it had me in a groove and kept me focused. Fast and heavy techno beats that kept me pumped up. I don’t typically like this type of music but for some reason The Prodigy stands out to me.

определенно не для меня альбом. средненький, ничем не примечательный, никакого музыкального развития на протяжение всего альбома. но "Voodoo People" и "No Good" определенно классные оценка: 3/5

Apparently I stopped listening to this half an hour ago but I couldn't tell because its so generic that I couldn't distinguish between this and any of the artists that followed the radio mix.

Ermmm

No. Sounds like my dishwasher and garbage disposal had silverware left in them then learned how to somewhat make a beat.

Really fun at the start, but I just don’t know if I can listen to a full hour of this genre. Might be a tad too much for me.

Experimental is usually hit or miss. I don’t know what it was about this album but I loved it. From the glass breaking song early on to the what sounds like a cross between a baby and a goat crying in the last track. No notes

Look I get the relevance of the prodigy and their importance to bringing electronica and dnb to the mainstream. But this just ain’t for me man, way too long and repetitive with no real musical development

Definitely, not my kind of music.

This is interesting but I'm not sure how much I'd really listen to it voluntarily outside of this project. Partly because 80 minutes feels too long for songs that are primarily based on one or two repeated loops and partly because I struggle with purely instrumental music.

absolutely horrible

Music for the Pill-Sucking Generation I genuinely had no idea what ‘jilted’ meant. So I did things the old-fashioned way and reached for the dictionary, which informs me that ‘to jilt’ means, yes, ‘to reject’ or ‘to dump someone’. Which fits rather well with the year this album came out, during the heyday of late Generation Zero, a few years after the fall of the Berlin Wall. Looking back, it was the best time ever, but at the time many young people experienced it as a rather empty and pointless era. Oh boy, how wrong we were. So this came out in the same year and the same country as the previous album (Oasis' definitely maybe). It’s hard to imagine a greater contrast. On the one hand, exhilarating rock ’n’ roll that sent your joy of living through the roof, even in 1994. On the other, unbelievably overcooked racket that makes you want to throw yourself in front of a train. This album is quite simply unlistenable. And yet I’ve listened to all 78 minutes of it three times. Let’s deal with that last point first: criminal. Why? There might actually have been a reasonably decent album buried in here if they’d cut it down to half the running time—a normal album length, in other words. As it stands, it drives you completely insane. I’ve already discussed this in connection with another album (The KLF) that I found even worse*: this kind of dance music (?) isn’t meant to be listened to at home, sitting in your armchair. It isn’t listening music; it’s doing music. And even then, I’m convinced it works best if you’ve taken substances I have no experience with. Surely nobody in their right mind can actually listen to or enjoy this? The music infiltrates the fluid between your brain cells and sets off a process of decay that, if you’re not careful, becomes irreversible. And the album gets off to a truly awful start, too. You’d be better off throwing the first four tracks straight in the skip. Then comes what is presumably the biggest hit, ‘Voodoo People’. In the grand scheme of everything being relative, it’s by far the best track on the album. After that, the album manages to maintain a slightly higher standard. The other two hits (?) are reasonably OK as well: ‘Poison’ and, especially, ‘No Good (Start the Dance)’. I suspect I know these tracks from Studio Brussel back in the day, when I had to listen to them on Sunday mornings at the time I would have been sitting in church a few years earlier, on a programme called De Afrekening. I’ve no idea where else I might have heard them. I see the programme is still going. Perhaps I should give it another listen, although I fear I wouldn’t get much enjoyment out of today’s music. > *Still, it’s curious. I haven’t mentioned it for a while, but I keep a playlist with one track from every album I listen to. The result is a completely eclectic but surprisingly enjoyable mix. Even music I can’t stand often finds a perfectly good place in it, and yes, that includes ‘Madrugada Eterna’ by The KLF. One track on its own is perfectly bearable when it’s part of a broader context.* No, lads. I can sort of understand the historical significance of this record. But above all, and once again: you really cannot listen to this at home. Let alone for 78 minutes.

Too long, too repetitive & at times, too annoying. It's sounds like a bird cawing throughout Poison & Space ducks having sex in Full Throttle. Too many annoying noises. I do like that tend to be very diverse in their sound. 3 kilos had a nice groove & sound. 2

2.5 stars. What a roller coaster ride. When this was revealed as my album of the day, I was dismayed. But I put it on and was pleasantly surprised-for awhile. After about a half an hour, it just got repetitive with it's blips and blops (I realize how that sounds-That's a good story, grandpa!).

Thumping beats. Not a lot else. Reminds me of the time I went to a club in Exeter (Boxes) on a Saturday night by mistake once.

This sounded cooler when I was 14, but that was only because my mom told me it was weird.

Not for me

I liked the first one with the repeating ceramic pot breaking Other than that it falls into the trap of repetition by changing a half octave every verse then unveiling another extra bit of a lyrical verse Not for me

some really bright spots here, but sometimes too repetitive and the noise on the last track was annoying as shit

Was never a fan of the prodigy, although I'm sure they would be great live!. The whole breakbeat thing just never vibed with me.

Holy crap, did i just walk into a disc bar in Mexico???

I liked this more than I thought I would. I didn’t realize there wouldn’t be vocals. It was decent.

Eletrônica ok eu acho, não é muito meu estilo

"Music to Hack To." Since I work a white-collar job and don't (often) have the time to rave on hallucinogens and entheogens as I once did, I don't listen to much "rave music" anymore. (Even when I was partying it was after Prodigy was no longer the music of choice.) This is excellent work music however, very driving and focused - and overly long. It isn't bad, it just isn't for most of my activities or moods.

Never heard The Prodigy, heard of the name, but this was fun

7/10 The Prodigy were one of the first acts to manage to bring the music of the underground rave scene into the mainstream, with their debut album seeing 5 top 20 singles in the UK charts. This follow up delivers a harder and more techno oriented take on the breakbeat work from that debut, supposedly in response to the 1994 criminalisation of raves in the UK, although Liam Howlett has since claimed that there was no political intent behind the record. It wasn’t until their third record, Fat Of The Land, that there was much contribution from the other band members, so this is more or less (with Maxim Reality contributing to a single track) a Howlett solo effort. The first thing to note about this record is how good at writing hooks Howlett is. But the way he produces those hooks is what really makes them stand out. They scream, throb and thunder out of the speakers in a way that often feels sonically confrontational while also being inherently engaging. It’s quite the trick. There are some absolute bangers on this album, like Voodoo People and No Good, and there are hooks and sections from pretty much every track that caught my ear and kept me engaged. Something that benefits the music here is that Liam Howlett appears to expend a decent amount of effort trying to avoid the common dance music trap of over-repetition without variation or development. Yes, there is repetition of course, it’s music with one and a half eyes on the dance floor, but he uses long enough sequences, brings in and out different elements regularly enough and throws in enough ear candy to give it almost constant movement, at least during the first half of the record. But he can’t completely avoid those pitfalls. When music is written for rave DJs to mix, it is inherently structured in a longer form way, providing DJs with lengthy intro and outro sections with which to mix. All well and good on the dance floor, but when sitting at home on a Tuesday morning, it does cause things to drag a bit, especially when it results in a 78 minute album. I’m kind of left with that same feeling I had when revisiting Roni Size’s New Forms, when I mentioned that a truncated “album mix” of each track would have resulted in a far stronger overall package. So while there are huge elements of this record that tick every single box, there is enough flab and dragging out of ideas beyond my point of interest that as a whole, it doesn’t quite manage to approach the highest end of the rating scale. It was still dirty, grubby, frantic fun though. Intro - It’s a scene-setting intro that gives the record a futuristic, grubby underground feel straight from the off. Break & Enter - Which is immediately backed up by this track, which feels grimy, punchy and cinematic, particularly with the foley sample use. There are some brilliant synth lines and tones, and the sample selection is great too. It’s heavy but not overly rapid, and there’s loads of movement and variation across the track. It does drag on a bit, mostly because that’s how music for club DJs works. But it’s still really enjoyable, atmospheric and has a dirty dance music groove to it. Their Law - The blending of rock music elements is an aspect of the Prodigy that really helped them to success. It’s dance music, but it has the grubbiness and attitude of rock music, and on this track, he even brings in Pop Will Eat Itself to contribute guitars. That distorted acid line that serves as the lead hook is great. Again, the vibe is great, and there’s plenty of ear candy and variation to keep things fresh, but it is over long. Full Throttle - The pace kicks up a bit now and there’s some cool drum editing and sequencing going on in there. It’s a bit more lightweight and lacking in beef compared to the earlier tracks. The piano and synth section adds great atmosphere, but this one does fall a bit more into the trap of becoming a bit more repetitive, with shorter looped sequences. Once the bassy synth kicks in, things do improve, and that dirty weight is back, but this one does feel a little less focused and interesting than the last couple of tracks, despite the solid grooves. Voodoo People - Like I said before, happy to blend in rock music. This samples Nirvana’s Very Ape for the main riff, and gradually builds in synth hooks and other samples like the flute from Johnny Pate’s You’re Starting Too Fast. It’s got so much going on that it manages to stay pretty fresh while maintaining the required dance floor energy. That dirty, distorted synth lead is fantastic, and again, the atmospheric production and clever balancing of different parts to keep things moving work really well. Speedway (Theme From 'Fastlane') - The persistence of the beats here are fantastic, with little chops out here and there that give a swift push and pull of momentum. It does have a few sequences that are a bit on the short, making it sound very repetitive, particularly the main lead synth line. It’s still very good, but as a home listener, aspects like that can make tracks struggle a little bit more to maintain energy and interest, so this starts to get a little stale, and doesn’t have quite the range of hooks to keep a listener fully engaged. The Heat (The Energy) - There’s some cool sound design here, and it’s really atmospheric, but it does drag on a bit too much, taking almost three minutes before the beat starts up. Even then, it’s pretty repetitive and doesn’t have any thing particularly standout about it. The production is very good, but it’s otherwise a bit bland. Even the changes feel a bit disjointed to me. Swing and a miss. Poison - Oh, yeah. The groove and weight of this are fantastic. The grit of the samples and the cool, atmospheric and sonically aggressive synth lines absolutely pop. The addition of the vocals give this extra range, and the variation of beats that Howlett uses through the track give it extra staying power too. There’s good bits of sampling and ear candy too, and the slower groove and dirty atmospherics combine really well. No Good (Start The Dance) - Another classic. The rumbling bassiness of the beat is super effective and the combination of hooky synth lines and the vocal samples from Kelly Charles give it plenty to grab on to. It’s got pace and an almost furious intensity to it, but there are so many moments when things break down and give pause for breath or moments of interesting sound design before the main theme pounds back in. It’s really well sequenced, and absolutely stacked with great hooks and beats. One Love (Edit) - We actually get an album edit of a track now, because Liam couldn’t fit the album in its full form on a single CD! Despite that, and the fact that this has some rip roaring synth lines, it’s actually quite a repetitive track that doesn’t have as much development or invention as even some of the longer tracks on the record. There’s a fleeting acid line in there that’s fantastic, but as a whole it’s another that doesn’t do too much for me. 3 Kilos - It’s a decent bit of chill out work. The main theme is lifted wholesale from Bernard Purdie, but Liam takes it off into a longer form, roaming exploration of sound design. There’s some good stuff in there, but it kind of sits a bit weirdly between breakbeat and jazz edged chill out, and doesn’t completely satisfy either itch for me. And it’s also way too long. Skylined - More great atmospheric work here and some more driving and persistent beats and synth lines, but it’s another where repetition starts to overwhelm when sat at home listening. There’s also not much in the way of hooks or rip-roaring synth lines here, so it all just becomes a bit too bland and predictable, especially for a 6 minute track. Claustrophobic Sting - Is it called Claustrophobic Sting because of that short screaming sample that goes on for ages? There are some cool lines and production in here, but it’s massively repetitive. The breakdown section in the middle at least has some cool bits of sound design and production, particularly as it builds back up for the drop, but this is the kind of dance music that really starts to drag for me unless I’m actually in a club or something, because it’s SO repetitive.

Bin anscheinend nicht jilted

This album was just okay There’s very little variety and it sounds like I’m listening to the same song for 80 minutes This album is way too long There’s nothing that interesting within each song and they’re all very repetitive 2/5 Favorite: no good

I am not usually into this kind of music but I actually really enjoyed the energy on this one. Some started to feel a little repetitive but they also had enough energy that I didn't mind. 3 Kilos was my fav

Album #1000 for me! This was seriously bangin’…made me want to rage it up. Loved the energy and hard edges. Especially loved Full Throttle, Voodoo People and No Good. 3 Kilos and Skylined kinda lost me, I feel like they could’ve been edited out because the album is still plenty long without them. But overall I really liked it and kinda want to go to a rave now.

EDM is just not a listening genre to me. It might be well done, innovative, and groovy. But it's also repetitive and lacking in dynamics and emotion. So I'm clearly not the audience for The Prodigy. It might be a good example of the genre. It might have inspired others. I don't want to hear it, unless I'm in a club. And I don't go to clubs.

1084 - "Here's your juice box and orange slice. Thanks for coming."

Absolute fire, not a dull track, some of the most distinct and recognisable electronic music of all time This fits with the list better than many so far in that it really is essential listening. The Prodigy have a super deserved spot for actually bringing this kind of break beat to the mainstream. Glad its here but it really highlights the short comings of the list for me, like how is this sitting amongst Kate Bush and Neil young's less known records. So many game changing albums excluded so we can fit entire discographies 70's artists Best tracks: Break and Enter, Full Throttle 9.5/10

Not my favorite prodigy album, but this album does have some hits. Everything on the album is a solid example of their sound and style. With a relisten with out skips

Great soundtrack for that overnight shift at the adult bookstore off I-99 just outside of Barstow.... 3.5/5.

My pants aren’t big enough for this dance floor

Pre Listen: Oh god, I audibly groaned reading this one's title and seeing the release date. The album cover looks stupid. Based on everything before me, guessing this one is gonna be 50+ minutes of dumbasses complaining about their lives with the worlds shittiest guitar and drums backed behind it. I'll issue a formal apology if I'm wrong. Notable Tracks: The Voodoo People - Oh this is where that one electronic bit I've heard before comes from. Specifically from around 2:25, I swear I've this bit in some sort of shitpost before. 3 Kilos - Best track on here, idk if I'd call it a "favorite" but I enjoy the samples the most here. Claustrophobic Sting - Least favorite track, what a weak way to end an album. That Alvin and the Chipmunks ass sample repeated dozens of times is annoying as shit. Other vocal samples used are also horribly cringe. Post Listen: I hereby formally apologize for being assumptive and negative in regards to the band "The Prodigy" before listening to their album "Music for the Jilted Generation". I was incorrect about them being a mediocre, dime-a-dozen rock band from the 90's. Instead they were a slightly above average beat-and-sample band from the 90's. It was better than I expected, but only because it was different from what I expected. They still fall into the same pitfalls many beat and sample groups find themselves in; songs go on for too long, samples grow stale, some things work better than others, and everything desperately needs to be cleaned up. I never understand why these sorts of groups go "Yeah yeah lets sample a baby crying or glass breaking, and loop that shit 1000 times, it'll be great!" It's never great, it really never is. Regardless, some songs would be enjoyable to club to I guess, but most are mid. Filing this album under "Things that probably sound better on Stimulants". 3/5

This kind of music isn't really my thing and almost every track is over-extended but, really, that's quibbling because it's quite good.

I don't know enough of this genre to describe what is happening. Anything that doesn't seem to produce sound with, guitar, bass, drums or other real instrument I call it "electronic" I like the chemical brothers, Fatboy slim... And thats all that comes to my mind, I like the fat of the land but that sounds more like, rock, punk, industrial songs with a defined structure and lyrics. So I would say that maybe they needed to make this album to get to that point which I do enjoy, but this, this is too repetitive for me. There's a reason people had to take drugs before listening to this.

Just slightly less enjoyable and consistent than The Fat of the Land, but it's still one of the great big beat albums. Break & Enter is a good microcosm of the entire experience. It has a long, phenomenal build-up, engaging and layered beats and an awesome finale. Not every track matches its quality, but most of them do a good job. Favourite track: No Good (Start the Dance)

Today years old when I found out that I left the CD for this one in my sold car. RIP to Music for the Jilted Generation and hope the next owner likes the Prodigy. Always a good one to put one. It's more rave-ish than their other work which I like. Songs are perhaps a bit needlessly long at times and it makes the runtime of the album quite a chunky one too. Not every one here is a rave classic, but the good moments on here are just so damn good.

ok

Brings me back to the 90s clubs. I've never heard the album in the entirety. I will listen to it again

I was ready to like this album after the first real track "Break & Enter." It was provocative and very creative, using the sound of breaking glass for a unifying beat over an energizing and sinister synth bass line. I was willing to believe the rest of the album might have potential, and "Their Law," with the dirty guitar riffs and harsh synth sounds, whetted my appetite. But about halfway through "Full Throttle" I could see I would not get what I was hoping for, and I ultimately didn't. The fearlessness in the sample choices unmasked itself as the well of gutless, wrongheaded contrarianism that poisoned the well of 90s music. It was just some unpleasant, needlessly jarring noise. A shame, because there are a handful of bright spots in the earlier numbers, but this one has far more skips than tracks worth sitting through.

Pretty insane sounding album. Makes you want to rave.

Someone call a firestopper.

If we were rating album covers, this one would get one star from me. Musically, this one suffers in comparison to Fat of the Land, which I was surprised to find myself liking as much as I did, and which has vocals and hip-hop and punk elements that enhance the high-energy sonic attack. This one just feels relentless, like being at a high-BPM rave on a speed jag. There’s a little variation but it comes late. I do appreciate the protest espirit de corps, however.

I will grudgingly accept an argument that the record we've already rated, The fat of the land, ought to be heard for impact/influence, no matter how much I don't enjoy it. But a second Prodigy record? Come on.

If The Fat of the Land is sort of the solidification and easily-packaged (easier anyway) version of “The Prodigy”, shorter songs and more sellable aggression and angst, then this one is the move into the dark to get towards that idea. It’s a bit more playfully minded, as Liam Howlett figures out how to make rave music with more bite as protest or w/e, and more focussed on the dance of it all than the specific presentational energy. This does also mean nearly every song goes too long and you’re plenty ready for the album to be done after 78 minutes (less of a problem on the follow-up), but when each track is going before you’re tired, it’s a good old time. Still not totally my 90s dance bag, but closer to it for sure.

Really good, I enjoyed this more than I thought I would, 4 stars. I'll listen to this again for sure

This album grew on me. Started solid (3 stars) with EDM+distorted guitars, but it kept growing on me as it went along. Not sure this is something I would put on just to listen to, but compared to yesterday's Deloused In The Comatorium, this was much more conducive to getting things done. I'd say it ended up at 3.6 stars, so I'll round up to 4 stars.

Maybe I just wasn't alive to be raving but this entire genre just doesn't do anything for me

I can appreciate The Prodigy are class, and Voodoo People is a banger. But as a whole, this isn’t my vibe

As a lover of electronic music, especially acid house, there's a whole lot to love in this album. It really digs deep into your brain and refuses to let go, and the 1 hour+ runtime doesn't feel like it drags on either.

nie moj klimat

This is noise.

I’d give it a 0 if I could

Was looking forward to this one, but after the first song I think I understood the point. 80 minutes was much too long. 3/5

While not quite the 'firestarter' that Fat Of The Land would become, Music For The Jilted Generation finds The Prodigy delving into sounds of the period, more dancey, but still featuring their trademark aggressive beats. MFTJG is a straight ahead electronic dance record. There are no vocals, aside from sampled ones. It's a great record, but it just doesn't have that much personality. Fat Of The Land was such a massive jump forward that MFTJG pales in comparison. Still very fun.

Listening session: september 19th, while getting ready in the morning Listened to before: heard one song before Thoughts: this makes me feel like I’m at a basement rave in 90s London (but in a good way) Favourite tracks: Full Throttle & No Good (Start the Dance)

milestone in its own genre........great energy and beats

The prodigy found their home somewhere between Lords of acid KMFDM and Nine Inch Nails. I'm not saying this is a terrible album and I'm not saying that the prodigy weren't reasonably decent band, but throughout this album, I felt like there was something mundane about it. I realize that 1994. This was very much cutting edge combining those sounds together but now there's dozens and dozens of bands that have done that and so it's kind of an old hat... still enjoyable though

Fucking rips man - modern life probably when you were dropping grade A E in a unlicensed warehouse rave in the 90s dancing to this.

sure maybe at a rave

I enjoyed it but I don't think it will be in my rotation. For me, The Prodigy is a band to listen to from time to time for the feeling and the groove. Like perfumes, just one drop is fine.

I’ve expressed several times that I don’t love electronic music.

Some high nostalgia here which boosts the score but it’s not as good as I remebered

No.

muy tetrico y metal

The predecessor to "The Fat of the Land" may not be as bold and bombastic, but it still a very solid Big Beat album filled with very frenetic beats, playful melodies, creative samples and a certain dynamism within the tracks thanks to the rhythm changes, pauses and incrementing number of layers. What I'll say is that, if there is something all tracks suffer from, is their long duration. Without counting the intro, the second shortest track is 5:03 minutes long, and the lengthiest one is 8:25. So while I think there are some songs that work incredibly well, in general, they test my patience to some degree, specially the ones that feel the most repetitive, most notably the pieces under the "The Narcotic Suite" part. If I had to highlight anything, I really like the use of electric guitars in the songs "Their Law" and "Voodoo People", and this last one also has a cool flute sample. And I don't think there is much more to say, as this is a very simple album to describe as a whole, being focused in frenetic and playful Big Beat tunes, working quite well most of the time. I just wish the album and some cuts were shorter.

Do we really need two The Prodigy albums on this list. Fat of the Land is much, much better. This is average edm.

I thought I’d like this more than I did.

78 minutos de música de DJ tornam exaustiva a experiencia de ouvir este disco por inteiro.