Rage is back with even

more pent-up aggression

ee than before, but always show-
enegades ing their evolution, each of
Epic/Sony the meaningful tracks on this

Renegades album conveys a
different message to the lis-
ener.

“We're in a way paying
omage to musical rene-
gades and that it is an act of
defiance and rebellion to be
one of those original hip-hop
artists, where you're saying to
the musical establishment, |
don’t have to take guitar
lessons in order to write a

thousand-dollar amplifier in
order to be on a stage”
Further referring to Dylan’s
quiet political pop revolution,
and Devo’s check on the
Regan era, Rage admits that
the primary intention of
Renegades is to show the
same irreverence for musical
convention writing their own
and “incorporating lyrics from
those revel songs and mak-
ing something that neither the
original artists’ nor Rage
Against The Machine would
have found on our own.
Admittedly, if anyone can
buck the musical and political

convention today, Rage is the
primary candidate and
Renegades delivers.

Using combination of their
traditional (and unique) style
of heavy old school hip-hop
while even getting a bit poppy
in a couple of places,
Renegades is completely a
cover album, so every song
has been redone in classic
Rage style. Every song is a
political gesture from MC5,
Volume 10, Afrika
Bambaataa, Devo, and The
Stooges, to the more well-
known likes of Cypress Hill,
Bruce Springsteen, The

Rolling Stones, and Bob
Dylan.

Consequently, the lyrics
which are found == on
Renegades are pointed and
political, from era’s present
and past, but now hold the
heavy aggression of Rage
Against The Machine.

An intellectual album which
will keep you thinking well
into the night, Renegades
RATM’s reality onto the listen-
er. Classic songs, classic
Rage.

-Kevin Milos

song. | don’t have to own a
Nothingface Straight from Washington
Violence DC to you - Nothingface’s
. : , Viol i tri
TVT/DCide/Universal eee ee ee vat

no-additives metal mix which
is bound to incite the “riot
ithin”
As a self declared grass-
oots metal band,
othingface claims to be get-
ting back to the roots of its
genre by staying away from
he showy guitar riffs and
‘check out how fast | can play
this riff dude” sort of mentali-
ty. Instead, they are working
on perfecting a simpler kind
of music which you can find
any day.
Precise honesty is some-

thing which has come to
characterize § Nothingface
throughout its career. “Make
your own bones,” says vocal-
ist Matt Holt, “...build your
own foundation. Just
because you think you know
somebody, they can do any-
thing at any time. You don’t
have to be a fucked up per-
son to do something fucked
up to somebody.” This sort of
dizzying mentality is exactly
what is appealing to the
“jaded listeners yearning for
something hard in rock”

The entire theme of
Violence is generally “...the
kind of perversions people

have in their own minds but
don’t have the guts to say in
front of other people,” admits
Holt. A glance at the lyric
sheet confirms this with
images of “coldness, celestial
bodies, and physical frenzy.”
However, each disturbing
lyric generally has an equally
exquisite lyric which rational-
izes it to some point.

On the heavy style which
Nothingface uses to get their
point across, Hold states “the
singing...those lyrics usually
come from one point of view.
The yelling is the most
extreme, irrational point of
view. You know when you get

extremely angry and you’re in
a rage, but every couple of
minutes, you have a moment
of clarity where you are ratio-
nal but then you go right back
into the rage again. That's
exactly how my lyrics are and
my singing is.”

Violence “schools its listen-
ers on how to bare their claws
and show off their vulnerable
sides at the same time.”
Angry and ferocious,
Nothingface does well to
bring home their angry views
and emotion to boot.

-Kevin Milos

Traffic Traffic is an exceptional
Soundtrack soundtrack taken from the
TVT/Universal contemporary thriller set in

the world of drug trafficking.
Director Steven Soderberg,
long with a cast of Michael
Douglas, Don Cheadle,
Benicio Del Toro, Luis
uzman, Dennis Quaid, and
atherine Zeta-Jones are the
leading team which is makes
the movie possible. Traffic
‘evokes the high stakes and
high risks of the drug trade,
as seen through a series of

interrelated stories, some of
which are highly personal
and some of which are filled
with intrigue and danger”
Says one review - SO you
have an idea what this movie
is all about.

Our purpose though -
what’s a good contemporary
thriller without a high-level
soundtrack. The _ traffic
soundtrack can be seen to be
a contribution to movie instru-
mentals in general, which are
of a genre all of their own.

The first thirteen tracks of
Traffic are pure emotional

instrumentals, all of which -

you will find in the film, but
maybe not in all of their isola-
tion or completeness, with
the exception of “The Police
Won't Find Your Car,’ which
didn’t appear on the final film.
Guest instrumentals can be
found with the likes of
Wilhelm Kempff, Morcheeba,
Fatboy Slim, Rocker’s Hifi,
and Brian Eno.
As another reviewer has

already taken the liberty of
pointing out, “this is not a
soundtrack you would sing
along to, or bring to a party -
but rather one you can sit
back and just enjoy.”

Traffic is a soundtrack with
can be put into the same
artistic class as the movie
itself.

-Kevin Milos

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