In the mid-'90s, American audiences weren't necessarily sold on electronic music. That was before The Fat of the Land. After all, here was an album that made sense: It had the swagger of hip-hop, the muscle of rock 'n' roll, the kinetic energy of a skate video and synths that might as well have come from outer space. It didn't hurt that Keith Flint and Maxim Reality dripped sneering vocals over most of the album's cuts, giving listeners plenty to shout along to.