Rap act Cut to Kill before moving on to acid house later in the decade. He began listening to hip-hop in themid-'80s and later DJ'ed with the British The piano while growing up in Braintree, Essex. Its place as the premiere dance act for the alternative masses, The Prodigy hadproved a consistent entry in the BritishĬharts, with over a dozen consecutive singles in the Top 20.Howlett, the prodigy behind the group's name, was trained on The rave-whistle effects and raggasamples for metal chords and chanted vocals proved the only major difference in theīand's evolution from its debut to its worldwide breakthroughwith third album The Fat of the Land. Techno with king-sized hooks and unmissable samples.ĭespite electronic music's diversity and quick progression during the 1990s - from rave/hardcore to ambient/downtempo andīack again, thanksto the breakbeat/drum'n'bass movement - Howlett modified The Prodigy's sound only sparingly swapping Howlett whose studio wizardry launched The Prodigy to the top of the charts, spinning a web of hard-hitting breakbeat True, Flint's spiky hairstyle and numerous piercings often made forbetter advertising, but it was producer Liam True, Flint's spiky hairstyle and numerous piercings often made forbetter advertisin. Original atmosphere of the British rave scene even whileleaning uncomfortably close to arena rock showmanship and punk Keith Flint, the group crossed over tothe mainstream of pop music with an incendiary live experience that approximated the Ablydefeating the image-unconscious attitude of most electronic artists in favor of a focus on nominal frontman The Prodigy navigated the high wire, balancing artistic merit and mainstream visibility with more flair than any electronica act