CDVS: The Prodigy Vs. Orbital

In 1996, modern rock radio saw the blitzkrieg attack of three important "dance" singles: The Chemical Brothers' "Setting Sun," the Prodigy's "Firestarter" and Orbital's "The Box." The so-called alternative music genre was in a post-grunge rut, and American radio programmers acknowledged the splashy U.K. debuts of the three breakbeat anthems by testing their Yankee appeal on its tastemaker stations. All of them charted.

Unfortunately, the "electronica" movement here didn't make superstars out of anyone, ultimately having to give way to the anthemic Brit rockers and American rap metal. Since then, the Prodigy hasn't released a proper studio album, and Orbital has thrived in the underground. This year, the former finally re-emerges, and the latter delivers its swan song.

Always Outnumbered, the Prodigy's fourth studio album, was supposed to come out two years ago. However, negative reaction to the band's derivative 2002 single "Baby's Got a Temper" sent its mastermind, Liam Howlett, back to the drawing board. The result is a more retro, beat-focused sound far removed from the tech-pop nihilism of the band's 1998 breakthrough record, The Fat of the Land. Where Fat was sinister and sexless, Always is slathered in seductive, cross-genre digitalia, from its crunky low end to its punk-infected swagger. The best evidence of this is the flamboyant first single, "Girls," an immediate crowd-pleaser armed with an infectious breakbeat and NYC hip-hop/electro looping. There will be no No. 1 debut this time, but damn if this isn't the most enjoyable work the Prodigy has ever released.

Fifteen-year pioneer act Orbital also returns to its rave roots on Blue Album, and it's hardly just a foundation here. Songs like "Bath Time" use vintage synthesizers and display an almost childlike melodicism reminiscent of Kraftwerk--high on nostalgia and low on energy. The album as a whole is more measured and downtempo than the last few Orbital longplayers, with exceptions such as "You Lot," bubbling with electro breakbeats, and "Acid Pants," barreling along with its 4/4 dementia and a sample from U.K. legends the Sparks. The lack of invigoration is usually replaced by beautiful waves of keyboard ambience, though everything comes together in the end with the ascendant, Lisa Gerrard-assisted "One Perfect Sunrise."

If you want contemplative beauty, stick with Orbital. But if it's a night out on the town, the Prodigy is unquestionably your full-blast soundtrack.--Mike Prevatt