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The Prodigy - The Day Is My Enemy (Letra y canción para escuchar) - The day is my enemy / The night my friend / The day is my enemy / The night my friend / Down / Down / Get down, get down, get down, get get down / Down /
The Day Is My Enemy is the sixth studio album by English electronic music group the Prodigy. It was released on 30 March 2015 by record labels Take Me to the Hospital/Cooking Vinyl in the UK and Three Six Zero Music/Warner Bros. Records in the United States. Recorded across a timespan of six years, the album marks the first time that band members Maxim and Keith Flint have been actively ...
Appendix churning bass , warehouse sound of 1990-1992 , lydons wit and sneer , bomb squad production ,1950s sci fi horror , ultra magnetic mc's, bruce lee,billy childish, qotsa ,the eighties matchbox
The Day Is My Enemy é o sexto álbum de estúdio da banda britânica de música eletrônica The Prodigy.Seu lançamento foi em 30 de março de 2015. [1]O título do álbum é uma referência a música "All Through the Night" de Cole Porter, em particular ao verso "the day is my enemy, the night my friend", [2] entretanto foi a versão de Ella Fitzgerald da música que inicialmente inspirou o ...
While the tracks may work as part of a colossal live stage show, they aren't nearly as satisfying as a home listening experience. There are glimpses at what might have been: "The Day Is My Enemy" has the mighty "Destroy" buried in the track list. With super-tight production, heavy weight stabs, and an almighty drum break, "Destroy" is a ...
14. Jan. 2015 · Overall, "The Day Is My Enemy" holds together well, with just enough variety to keep you interested. In fact, this album restores faith in The Prodigy to continue and make another album (yeah, in like, five years!) Here's how "The Day Is My Enemy" compares to The Prodigy's previous works: 1992 Experience: Three and a Half Stars
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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.
