Published on Nov 3, 1999
One listen to Rage Against The Machine’s new album,
The Battle Of Los Angeles, you know it’s on. You can almost
hear lead singer Zack de la Rocha draw a line between the “haves”
and the “have nots” in the middle of Los Angeles and have him say
“Let’s get ready to rumbleeeee.”
But that would trivialize what Rage Against The Machine
accomplishes on
The Battle Of Los Angeles. Totally uncompromising,
propulsive rhythms and a proud statement: “All sounds made by
guitar, bass, drums and vocals,” Rage Against The Machine make huge
strides in their new album. Hate to say it folks, but believe the
hype, the critics are right on this one.
Given the sorry state of radio right now, Rage could have very
well released a warmed-over version of their first album and it
still would be heralded as a bold statement. But Rage gets
experimental on many of the tracks on “Los Angeles.” But don’t
mistake being subversive for being subtle. Rage’s music still goes
off like a mail bomb.
“Testify” opens with a scathing criticism of the news media.
Yeah, I know, it’s not exactly a moving target, but de la Rocha
manages to make the argument fresh by playing victim “I’m empty/
please fill me/ mister anchor assure me/ That Baghdad is
burning.”
Lyrics will only get you so far. And fortunately for Rage,
you’ve got some of the best musicians of the ’90s when it comes to
driving your point home with the precision of a jackhammer. Brad
Wilk’s drumming sound crisper this time out, but the trademark bass
and guitar work that makes you recognize Rage in a couple of
seconds has evolved. Y.tim.K’s talent for the bass is the key to
bridging hip-hop and heavy metal. And Tom Morello’s guitar work
dares to go into intriticate territory with “War Within A Breath”
and “Maria,” a slam against sweatshop setups.
There’s plenty of the heavy stuff to satisfy even the oldest of
old-school Rage fans. “Born Of A Broken Man” and the soon to be
immortalized in the mosh-pit anthem, “Calm Like A Bomb,” detonate
in their intensity. But the songs that show that Rage is trying to
take the rock and rap marriage to new levels are the best songs on
the CD so far.
“Sleep Now In The Fire,” is by far the best heavy metal song
I’ve heard in four years. And “New Millennium Homes,” is
instantally memorable, not for it’s chorus, but for the expert
songcrafting. By trying to blend two different genres, as well as
co-opt four distinct personalities into one disc had to result in
some trauma in the studio. And according to some articles before
The Battle Of Los Angeles was released, the band came close
to toally breaking up before this was recorded. But like some of
the best albums born in turmoil, this album is a triumph, not an
embarassment.
Rage could have dropped the ball big time with
The Battle Of Los Angeles. Rap-rock music has become the
next genre to be the scapegoat for school violence, sexism and last
time I checked, some really stupid songs on MTV. On the inner
sleeve of the CD liner notes, Rage lists over a dozen or so
political groups where you can get active. Their songs deal with
the oppressed much like the Clash and Public Enemy did before them.
But Rage doesn’t rely on mere symbolism. In 20 years, some of the
lyrics that bash both Bush and Gore will not be timely, but
fortunately, the music will still sound vital.