Download 'Prodigy Discography' torrent (Audio). Download millions of torrents with TV series, movies, music, PC/Playstation/Wii/Xbox games and more at Bitsnoop. The Prodigy's response to the sweeping legislation and crackdown on raves contained in 1994's Criminal Justice Bill is an effective statement of intent. Pure sonic terrorism, Music for the Jilted Generation employs the same rave energy that charged their debut but yokes it to a cause other than massive drug intake. Download The Prodigy - Full Discography (1990-2009) [mp3] torrent.Bit Torrent Scene ( BTScene ) a public file sharing platform.

Described by principal producer Liam Howlett as “an attack,” The Prodigy’s sixth studio album is a blast of gritty, two-fisted aggression from the pioneering electronic outfit. The opening title cut, “The Day Is My Enemy,” combines 10-ton synths with sternum-rattling breakbeats, while the appropriately titled “Nasty” is a dizzying rush of devilish melody and radioactive production. Elsewhere, the closer, “Wall of Death,” finds frontman Keith Flint spitting familiar streams of venom over the unrelenting crunch of piston-like guitars and spooky atmospherics. Described by principal producer Liam Howlett as “an attack,” The Prodigy’s sixth studio album is a blast of gritty, two-fisted aggression from the pioneering electronic outfit. The opening title cut, “The Day Is My Enemy,” combines 10-ton synths with sternum-rattling breakbeats, while the appropriately titled “Nasty” is a dizzying rush of devilish melody and radioactive production. Elsewhere, the closer, “Wall of Death,” finds frontman Keith Flint spitting familiar streams of venom over the unrelenting crunch of piston-like guitars and spooky atmospherics.

The Prodigy navigated the high wire, balancing artistic merit and mainstream visibility with more flair than any electronica act of the 1990s. Crack Sage Saari V 16 here. Ably defeating the image-unconscious attitude of most electronic artists in favor of a focus on nominal frontman Keith Flint, the group crossed over to the mainstream of pop music with an incendiary live experience that approximated the original atmosphere of the British rave scene even while leaning uncomfortably close to arena rock showmanship and punk theatrics. True, Flint's spiky hairstyle and numerous piercings often made for better advertising, but it was producer Liam Howlett whose studio wizardry launched the Prodigy to the top of the charts, spinning a web of hard-hitting breakbeat techno with king-sized hooks and unmissable samples.

Despite electronic music's diversity and quick progression during the 1990s -- from rave/hardcore to ambient/downtempo and back again, thanks to the breakbeat/drum'n'bass movement -- Howlett modified the Prodigy's sound only sparingly; swapping the rave-whistle effects and ragga samples for metal chords and chanted vocals proved the only major difference in the band's evolution from its debut to its worldwide breakthrough with third album The Fat of the Land. Even before the band took its place as the premiere dance act for the alternative masses, the Prodigy had proved a consistent entry in the British charts, with over a dozen consecutive singles in the Top 20. Howlett, the prodigy behind the group's name, was trained on the piano while growing up in Braintree, Essex. He began listening to hip-hop in the mid-'80s and later DJ'ed with the British rap act Cut to Kill before moving on to acid house later in the decade. The fledgling hardcore breakbeat sound was perfect for an old hip-hop fan fluent in uptempo dance music, and Howlett began producing tracks in his bedroom studio during 1988. His first release, the EP What Evil Lurks, became a major mover on the fledgling rave scene in 1990. After Howlett met up with Keith Flint and Leeroy Thornhill (both Essex natives as well) in the growing British rave scene, the trio formed the Prodigy later that year.