Rage Against The Machine
Rage Against The Machine
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Rage Against The Machine
Rage Against The Machine
Epic, 1992
RiYL: Public Enemy, Tool, Korn, Ice Cube, Deftones |
Rage Against the Machine has lit up MTV, alt-rock radio stations and stages all over the land for seven years now, delivering its politically-charged messages over a merciless hybrid of rock. The band has blazed the trail for bands like Korn, Tool and Limp Bizkit and the current wave of funk/metal littering the cultural landscape. And a damn good thing it did.
A blistering political wake-up call, Rage Against the Machine's self-titled 1992 debut is a volatile and intelligent offensive against any and all of the following targets: right-wing politics, racism, sexism, police brutality, inner-city violence, government corruption, the Zapatista movement in Mexico, the imprisonment of Leonard Peltier, the unrest in South Africa and the pervasiveness of television. Thing is, it's delivered over a consistent series of tight rhythms, funky guitar effects and what might -- in any other context -- be described as killer rock hooks.
But don't tell anyone I said that.
The band's live performances are among the most explosive on any stage (Rage's live cover of "Fuck tha Police," from a 1995 benefit concert for Mumia Abu-Jamal, is a must-find.) But Rage's hole card is the sheer volume of its knowledge.
The man behind that is Zack de la Rocha, perhaps the most politically point-blank lyricist since Chuck D. His spitfire rhymes don't leave much room for interpretation:
The teacher stands in front of the class, but the lesson plan he can't recall / The student's eyes don't perceive the lies bouncing off every fucking wall
But they, like the band, are uncompromising in their fury and social relevance. (Hell, Rage's guitarist is a Harvard grad.)
Still, for all its "fight-the-war-fuck-the-norm" edicts, the core of Rage Against The Machine is its seamless rock, thunderous bass and undeniable groove, which only evolves further on the 1996 follow-up Evil Empire.
The angry-youth shout-along anthem "Killing In The Name" was probably designed to ignite crowds and get kids to direct screams of "Fuck you I won't do what you tell me" to their parents, teachers and ex-girlfriends. The beat is brutal and the groove is strong. And "Take The Power Back" is a lyrical shot at public education that doubles as a showcase for Tom Morello's fiery guitar, which makes noises one might expect from samplers, chainsaws and/or spaceships.
Take note: Rage's music and message should be considered only at maximum volume.
JEFF VRABEL | Jeff Vrabel may look like your average, strapping Midwestern-type, but lurking inside him is a passion for all things Springsteen, "Weird" Al, and regrettably, the Chicago Cubs. He's touched Britney Spears. He knows Slash's phone number. Obey him at all costs.