Published in Flash! October 28, 1999

Rage fights the power on "Battle"

The rap/metal genre has grown in popularity by leaps and bounds over the past
few years. Bands such as Korn, Limp Bizkit, and Kid Rock top the charts with their
hybrid blend of hard rock guitars and hip-hop beats. However popular they are, they
miss the mark set by the forerunner that is Rage Against the Machine.
With the release of “The Battle of Los Angeles” on Nov. 2, Rage delivers what
everyone expects of them. Therein lies the problem.

Everyone expects the same thing.

“Battle” offers little new. It is filled with more of Zach de la Rocha’s rants, and
some would say, propaganda. Guitarist Tom Morello delivers more insane guitar genius.
If anything is different than their previous releases it is the rhythm section of drummer
Brad Wilk and the bassist with the ever-changing name, YtimK. The groove on this
album is more prominent than ever.

Filled with head pounding numbers, “Battle” proves that no matter how much
money a band makes, somehow they can still be angry. One often wonders when
listening to the album how de la Rocha can still be so anti-capitalist when he obviously
has made millions from his anti-American stance. You’ve got to be pretty angry to spew
the venom de la Rocha spews at his enemies. I wonder how most teenagers in the suburbs
can possibly relate to the Zapatistas’ struggles that de la Rocha speaks about. However,Rage
offers so much more than rhetoric.

Morello’s guitar is the real genius of this group. Not content to merely churn out
the standard solos or riffs, Morello coaxes sounds from his axe that leave one scratching
their head wondering how a normal human being could ever turn such sounds into a song
that would make every arena across the country break into a simultaneous mosh pit.
The sounds range from a moo of a cow (“Born as Ghosts”), Harmonica (“Guerilla
Radio”) to a DJ scratching on the turntable (“Mic Check”) and so many sounds that
seemed to be influenced by early “Space Invaders” video games. Morello is arguably the
only innovator on guitar since Eddie Van Halen came onto the scene in the late 70’s. He
turns his instrument inside out to discover unique sounds that are almost genius.

While many may not agree with everything that is being said on a Rage record,
one cannot deny its sheer, unadulterated power. There is nary a chance to rest on this
album. Every single song contains the pattern of intro riff/big sound/soft while de la
Rocha raps/back to big sound. While this works well for Rage, a lesser band would never
make it out of their garage playing this strict of a style. The only attempt Rage makes to
break the mold is “Sleep Now in the Fire.” This actually appears to be Rage’s attempt to
make a song with real singing in it. But alas, it too reverts back to the standard formula.
Rage Against the Machine may not preach a popular message but the medium
through which it is delivered is one bright spot for hard rock. In a world dominated by
Backstreet-N’ SYNC-Spears-Boys, Rage delivers an album guaranteed to drive parents
crazy and make young adolescent males weep with delight.

I just wonder how long their career can last making the same album over and over again.