the prodigy review: prowling panto frontmen unleash brute rock force

The giant Ant logo of the prodigy is projected on an empty stage and seems to act as a bat --
Signal veterans, Redding and Leeds regulars who flock to Alexandra Palace.
Of course, the two camps were taken care of generously in the subsequent episodes of the Essex band, which took advantage of the brute force of rock while guiding the frenetic rhythm of drums and bass. From the life-
The large bus replica behind the stage, the huge lighting and laser Library, has no subtleties on the stage.
The quality of this cartoon is reflected in the performances of lead singers Keith Flint and Maxim who sneak, laugh and encourage the audience to participate like experienced pantomime villains.
In fact, over the years, the ridiculous nature of their stage characters has become more obvious, whether it is the subordinate role of the former.
John Leyton sneered, or the latter as the role of MC/radical sergeant.
If there is any nuance of sound, it completely disappears in the hall.
The super-active melody voodoo in 1994 was almost overwhelmed by overrendering.
The bass was great, while the jackhammer beat and jagged guitar of the London track and field champion were disappointing.
Only the controversial single \"Hit My Bitch\" can survive the muddy acoustics of the room, as well as the brutal flash and submarinebass-
It turned out to be an independent show. out moment.
Despite the generous acceptance of the materials in the latest first album, no visitors, tied up with classic works from the land, and experience their diminishing returns as a cynical attempt to recreate winning songs.
However, there are still no other groups that can bridge the gap between hard rock and electronic music so effectively.