2/25/11 – Rage Against the Machine
Music is not some stuffy college lecture ... On a good day, Rage Against the Machine is not able to just rock you like a hurricane, but also to fuel the engine with indignation and the band's activist convictions.
– Tom Morello
One of the great things about young people is that they do question, that they do care deeply about justice, and that they have open minds.
– Zach de la Rocha
Ok, confession time – I had heard of Rage Against the Machine, but never listened to any of their music until “Bulls on Parade” was featured on Guitar Hero 3: Legends of Rock. At which case I developed a profound respect for Tom Morello and his innovations on the electric guitar. Since then, I’ve been looking forward to getting to this album, if for no other reason than to experience the wide array of colors Morello paints with his guitar. The more I read about the group, the more I also respect their political and social activism, in that they put their money (and their time, and their energy) where their mouth is.
To that end, it is impossible to separate RATM from the rage. Both the tone of their lyrics and the music itself are a protest against the establishment. Unfortunately, the lyrics are often too simplistic to delve deep enough into the issues the band tries to tackle. Instead, they come across as sound-bite sized quips, resulting in the angry screams of a rebel without a cause. The bitter rage is communicated well, but not as often what we’re angry about or any proposed solutions to the problem. Granted, the whole “screamo” rock movement has never been my thing, so I’m most likely more prone to dismiss se la Rocha’s texts, which I have admittedly not looked up, but am merely going off of multiple listenings.
A brief note about the other two members of the band – bassist Tim Commerford and drummer Brad Wilk are similarly incredible musicians, and their contributions should not go unnoticed, despite the fact that their role designates them to the background more often than not. The fusion of hip funk with hard metal is a difficult one indeed, but these two provide a sturdy background that merges both elements masterfully. The hard driving beats often transition transparently in and out of a mild form of swing, which I think is responsible for lightening some of the otherwise plodding hard rock/metal grooves well.
However, Morello makes me love love love this album. To the point that I not only want to pick up Evil Empire (the band’s second album,) but also get into his work with Audioslave and the other outfits he’s been involved with. The man is a technician with a better sense of molding his sound and tone than most keyboardists, a soloist that rivals many jazz greats, and has a fusion sensibility of redefining styles I’ve never seen. Not going into a track by track on this album because I could go on for hours (and don’t have the time,) but I keep coming back to the cut “Know Your Enemy.” The synthy 5ths of the introduction are crazy-good hook material, and the aforementioned semi-swing of the bass works incredibly well. I think I’m wearing down the CD going over the solo from 3:15-4:02 on the track. It’s insane.
I actually have to amend my opening statement; “Wake Up” grabbed me before Guitar Hero – in the closing scene of “The Matrix.” Given the band’s revolutionary bend for social justice and political reform, I can’t imagine a better fit for that particular movie. This is of course, deemed “car worthy,” and has been in the CD changer for a week now. Not planning on moving it out anytime soon either. Maybe when I get to Audioslave…
Tomorrow – Bizet: Carmen
Next week – The Miseducation of Lauryn Hill
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