Skip to main content

ALBUM REVIEW: "Prophets of Rage" by Prophets of Rage

   Rage Against The Machine they are not. While the classic rhythm section remains, there is something hollow about this first full length from supergroup Prophets of Rage. The first and biggest major let down for me is in the vocal department. I'm all for rap rock, but this just doesn't work. Part of what makes Rage Against The Machine so timeless is Zac de la Rocha's fury that he spews spectacularly - this kind of conviction is nowhere to be heard. Instead we have some occasionally rousing but mostly mundane performances from Public Enemy's Chuck D and Cypress Hill's B-Real. Also a disappointment is the severe underutilisation of such an iconic rhythm section. The guitar solo in Unfuck the World is a glimpse at the sheer insanity and groove Tom Morello is known for, but there is a serious lack of banging tracks, the likes of which make up the entirety of the first Rage Against The Machine album. When there is a ripper of an instrumental track it just screams for a vocalist with a serious set of pipes. I don't really want to comment on the political content of the lyrics because that would warrant an entire piece, but in short I was pretty underwhelmed in that department too. Disappointing.

   Favourite Track: Unfuck the World and Strength In Numbers

   Least Favourite Tracks: Legalise Me, Take Me Higher and Who Owns Who

   Rating: D

Comments

Popular posts from this blog

NOSTALGIA PICK #3: "The Glow Pt. 2" and "Mount Eerie" by The Microphones

   There aren't many artists that have been making consistently exciting music for as long as Phil Elverum has been under his various musical pseudonyms, the most notable being The Microphones and Mount Eerie, the latter being the second incarnation after The Microphones' Mount Eerie.  From experimental beginnings to rugged indie-folk to what was essentially Phil's black metal album in Black Wooden Ceiling  and back again, nothing he has done has felt like a re-tread of what had come before, but somehow he has managed to maintain an instantly recognisable sonic fingerprint across all his projects.    For me the peak moments in his expansive discography come in the form of 2001's The Glow Pt. 2 and 2003's Mount Eerie .      A saw an exhibition at the Museum of Contemporary Art in Sydney showing the work of Japanese artist Tatsuo Miyajima, which was a series of installations ruminating on life and death and the cycle it forms. All of the in...

1 YEAR LATER: "22, A Million" by Bon Iver

   Bon Iver's third studio album turns 1 in about a week (where did that year go?), so I thought it would be interesting to talk a bit about how my impressions of the album have changed - or how they haven't - over the last 12 months. When this album was released I was more excited than I think I ever have been to hear a new album. For Emma, Forever Ago is one of my all time favourites, and I love his self-titled second album too, so I had huge expectations for this album, but was also wary that expectations might ruin my experience of the music. This was particularly the case for 22, A Million , because it is unlike anything else Justin Vernon has released. There have been hints at this more processed, electronic direction previously, like the song "Woods" on the Blood Bank EP and occasional flourishes on Bon Iver , but 22, A Million is a drastic departure from the Bon Iver sound we had grown accustomed to at this point in time. Or at least, that's what I thought...