Review: Audioslave - Out of Exile

Audioslave – Out of Exile

Every once in a spell a band comes on that actually changes the way you perceive music, for me one of these bands was Rage Against the Machine. I’ll be the 1st to admit that I, like most angsty teenagers was lured into Rage’s music by their anti-authoritarian songs, and honestly dude, they same “fuck” a whole lot. Not only did the vulgar language lure me in but instead of writing just about girls and cars, they took the time to write music just about thing that actually mattered, politics. Gimmick or not, the music was compelling. Presently after I 1st detected Bulls on Parade on the radio I started to actually question why I was listening to a lot of the else music that interested me at the time. Slowly I began to drift away from happy songs just about love and sunshine, and turned to songs that actually had a purpose. That being said, I was really excited once I 1st detected that one of my favorite bands of all time was going to reform, and motherfucking Chris Cornell is going to be their singer. It was like several sort of early-90s rock wet dream. Soundgarden and Rage against the Machine coming together to form a band that would-be revolutionize rock! Or so they all said.

Fast forward to today; Audioslave has discharged Out of Exile the follow-up to their self-titled debut discharged in 2002. Rock doesn’t seem to have been revolutionized; in fact it seems just about exactly the same. Simply as with their self-titled released, the band has crammed in as many an message stunts as possible, playing on the streets of LA; resultant in a riot, and an even as larger stunt in Cuba in front of 50,000 fans at Havana’s Anti-Imperialist plaza. Brilliant marketing, but makes their album measure up to the figure of packaging the band has encompassing them at all times? After all they are a supergroup consisting of 2 of the most flourishing rock bands in history. The answer to this is an lukewarm ‘No.”

Out of Exile opens in stereotypic Tom Morello fashion with a gimmicky stringed instrument line dropping in to a tired riff; strikingly similar to Cochise. Spell the album isn’t actually terribly offensive, it just lacks the presence and power of any of the Soundgarden or Rage against the Machine releases, chalk it up to longing or whatsoever you want, but this album just makes not deliver the caliber of music that we all cognize these musicians are capable of creating. Every song is written victimisation the same pop-rock formula and Morello’s gimmicky solos just do not activity in conjunction with Chris Cornell’s dark vocals.

The album moves through a dozen songs that all follow the same basic formula; the album makes ‘rock’ at a few occasions, but the tone and attitude just seems to have been altogether lost. It seems like the band is just going through the motions and then moving on. A few of the songs have a really strong Soundgarden feel to them, spell others seem to be several sort of Led Zeppelin effects laden tribute, the album’s seventh track The Worm especially.

The bands 1st release consisted primarily of Rage against the Machine leftovers, but the few songs wherever the band actually let themselves go, videlicet The Last Remaining Light and Shadow on the Sun, were extravagant and exciting. I got this album hoping that this type of writing would-be dominate the album; sadly this is just simply not the case. The only track that I can recommend to anyone is the title track, and the only reason I recommend it is because it is written like a self-titled Rage against the Machine era longing track. I guess that’s essentially what the band has distinct to sink to, a tribute to what they used to be.

Sadly this album wish probably soar up the rock charts and do the band millions of dollars, in several route you have to respect the band for being able to do money by re-writing the same songs they have been writing since 1991, but it’d be good to see several sort of growth. Turning to pop-rock; U2 style, may be growth, but the majority of the bands core fans wish think it’s moving in the wrong direction.

Overall: 3.9

Simply just about THE AUTHOR
Chris Elkjar is the founder of 'trust.me' an online music magazine. He spends all of his spare time immersed in music, be it writing reviews, interviews with leading bands or writing his own music.
For much of his writing, check out Trust-Me.ca - Music for robots