Audioslave - Audioslave

Before we begin our review, we would like to express our gratitude...

We invite everyone to come together and express their appreciation by saying "thank you very much" (even silently).

We are grateful, Rick Rubin!!

One day, a large and sturdy explosive barrel found its way into Rick Rubin's studio, posing an apparent danger. Despite this, Rick, a skilled fighter and demolition expert, acted swiftly and placed the barrel in his studio without hesitation. Later, he discovered that the barrel was missing a key component – a detonator. Unfazed, Rick considered the situation and remembered owning a unique detonator, crafted in Seattle in the 90s. This particular detonator, far from ordinary, held special importance. When Rick connected the detonator to the barrel, a remarkable synergy emerged, almost as if the barrel and detonator were meant to be together. To his amazement, this combination initiated a series of inevitable chemical reactions, leading to three significant and extraordinary explosions. The first explosion, causing a powerful shockwave, signaled the beginning of this explosive sequence – an album unlike any other!

If you have stayed engaged following our captivating metaphor (as we see it), we will now elaborate on our intended message...

On November 18, 2002, the debut album of Audioslave was born.

After Zack de la Rocha's departure from Rage Against The Machine in October 2000, the remaining members, known as the "Rage Trio," were determined to move forward into a new era. While their commitment to staying together was evident, the question of who would fill the void left by Zack lingered. At this critical juncture, Rick Rubin, who was familiar with the band's situation, proposed an interesting solution - none other than Chris Cornell, the acclaimed lead singer of Soundgarden.

The band members were immediately excited about the idea of having the voice behind "Badmotorfinger" join their ranks. Anticipation grew, but one crucial step remained. Rick contacted Chris, who was busy working on his second solo album at the time. A jam session was arranged to assess the potential chemistry and dynamics. The Rage Trio, along with Chris, entered the studio under Rick Rubin's expert guidance.

As the scene unfolded, Tom Morello kicked off the session with a guitar riff that produced a metallic sound reminiscent of an alarm. Suddenly, Brad Wilk joined in on drums, Tim Commerford on bass, and Tom shifted the sound to a distorted tone. After an intense opening of eight bars, the trio unleashed their energy and awaited Chris's response. Taking the mic, Chris sang, "In my hour of need, On a sea of gray." In that moment, the studio was filled with a burst of magical fragments and cosmic waves.

Tom, astonished by what he heard, commented, "It wasn't just good... it was sublime!" The fusion of Chris Cornell's vocals with the instrumental prowess of the Rage Trio had created a moment that transcended the ordinary musical experience.

And we have no other way to describe Chris' voice than sublime !!

Indeed, this session showcased a preview of a tune titled "Light My Way". It marked the debut performance of the band members playing in unison, and they instantly sensed a flawless chemistry, as if their partnership was destined.

(Photo: Interscope)

There is no denying that this partnership connected two slightly different realms. One side features the intense band with sharp riffs, consistently conveying political and social messages with a confrontational approach. On the other side, there is a prominent singer with a background of battling drug and alcohol issues, mainly focusing on expressing life's challenges and avoiding political and social discourse. Nevertheless, this exceptional supergroup cleverly merges these opposing components, with each aspect influencing the other in surprising ways.

The trio of anger moderates their fervor, incorporating a style that remains powerful yet exudes a notable softness and harmony, free from obvious political or social passion. In contrast, Chris becomes increasingly outspoken and instinctive, exploring a mix of aggression and loud outbursts alongside instances of sensitivity and affection.

The band's first album, named after themselves, is a masterpiece filled with vibrant musical elements that resemble a symphony of fireworks, especially in the music video for the opening track. It's a situation where the individual songs outshine the album as a whole. Each track is a significant piece, with no weak or insignificant songs on the record, regardless of personal preference. Every song is meticulously created, showcasing exceptional talent.

The album starts off with the powerful anthem "Cochise," featuring Morello's distinctive guitar style that builds up tension like a coiled spring before releasing it with precision. The listener is swept away as the song takes flight.

From the very first note, Chris pours his heart out as if he had been eagerly anticipating this trio to offer the stage for him to passionately release his emotions. Similar to the music video, we are delighted by a magnificent show of fireworks where the powerful trio meets this expressive singer.

The next song features an intense rhythm with a strong snare and bass that hits hard, complemented by Morello's guitar work that appears crafted to make you feel like crawling on the ground.

"Show Me How To Live" stands as nothing short of an exemplary anthem, with a delicate balance between the verse and the chorus that creates an abyss, compelling you to scream out loud. Regardless of your religious beliefs or the force that shaped your existence, you find yourself turning to your creator and letting out a scream. While some may argue that the reference here is to the creator of the monster Frankenstein rather than Jesus, for us, the significance lies in the act of screaming itself. The choice of who to scream to is a personal one.

By the way, if you've ever wondered about the special effect on Cornell's voice at the end of the song, it's not an effect at all. It's Cornell himself gently patting his hands on his throat, adding a unique and personal touch to the sonic landscape.

Now, let's "calm down" a bit with "Gasoline." Here, too, the familiar pattern of tranquil verses is followed by an eruption of the chorus, this time fueled by gasoline, so caution is advised to avoid burning everything down.

In "What You Are," we are greeted by the mesmerizing fret and sweeping rhythm. At the 22nd second, Chris begins singing in a soft and caressing voice, seemingly leading us into a gentle ballad. However, the trio has other plans and once again introduces a powerful chorus when Chris exclaims, "Now I'm Free…"

Prepare your handkerchiefs and keep an onion nearby as an excuse, because now we arrive at the emotionally charged climax of the album (time flies), "Like a Stone." The song brings together the rage trio's raw intensity with a softer side. Once again, we start calmly, but this time the chorus doesn't explode too much, allowing Chris to continue with his tender and soothing vocals. This track stands out as one of the most emotionally stirring on the album, if not the most poignant. Even Tom's solo seems to weep over what Chris has conveyed, capturing a powerful and poignant energy. You might find it amusing, but this is 21st-century poetics, and it's genuinely moving to tears—such is the profound impact a person can transmit through their voice. (By the way, the castle in the music video was where Jimi Hendrix lived and created, adding an extra layer of historical resonance.)

Let's take a refreshing pause with a glass of water and then dive back in, because things are about to change, and we're reigniting the explosion with "Set It Off." The track kicks off with a sound that suggests something went awry in the studio, as if Rick accidentally nodded off on the buttons while editing Tom's recording. But then, it catches fire because someone "lit it." If we had a can of "gasoline" before, now you're urged to "set this [expletive] off," so go ahead and let it rip—we're not holding back.

The combination of Tom's instrumentation and Chris's vocals feels almost celestial. Now, add the pulsating bassline, and you've got the formula for creating a powerful resonance in the heart (yes, we're pouring here, and we're doing it consciously, so no need to worry...). Introduce the drums to the chorus, and it becomes sheer pleasure. "We can't tell you why," maybe it's the "Shadow on the Sun." The song's finale from 4:40 is an explosive culmination of the rage trio, sounding as if Chris is roaring and urging those who have already moved the sun.

Close your eyes and let Chris take the spotlight. Here, the rage trio truly eases off, allowing him to shine brilliantly. "I Am a Highway," some claim it was written about Chris' departure from Soundgarden, while others argue it was penned about his separation from his wife. Regardless, the song is undeniably stirring. Feel how he takes command of the song, embodying the lyrics—he is the highway and not just a wheel. He's not the hitchhiker or the magic carpet; he is the sky, and we wholeheartedly resonate with that sentiment.

Going back a bit to Rage's distinctive style, Chris roughens his voice and unleashes an explosive force in "Exploder." While our interpretation leans toward the song reflecting Chris' personal struggles and addictions, it's merely our perspective.

The track "Hypnotize" seems to be plucked directly from the demos Chris recorded for his solo album. Aside from Tom's little riff, it deviates from the style we've heard thus far, but we love it for its refreshing and different quality. Imagining the rage trio playing this song adds an intriguing layer.

Bringing them back, we dive into "Bring 'Em Back Alive," which carries hints of religion and faith, infused with Rage's funky yet softened style.

Yet another anthem from the supergroup's creator, "Light My Way" opens with Tom's sounds propelling us into a realm of electrical connections in the brain, inducing uncontrollable facial distortions. It's a monumental track, even with a touch of Chinese elements in the background. "Do not save it for another day," urges Chris. Click Repeat and let this song envelop you again.

To unwind a bit, "Getaway Car" takes the stage with Chris leading the way and featuring "The Escort Band." It's a beautiful fusion with bluesy undertones, delivering a delightful musical experience.

The album concludes with "The Last Remaining Light," where Tom's guitar seems almost broken, and Chris sits alone in a dark room recording the lyrics. But pause for a moment and focus on the sound of the snare. Notice how it rises above everything else, as if conveying a message, orchestrating perfect harmony among all the instruments.

We've said it many times, but it's worth repeating:

Music is a wonderful thing! And this album is no less wonderful!

The album cover, created by artist Storm Thorgerson, renowned for his work with bands like Queen, Pink Floyd, Genesis, Rainbow, Black Sabbath, and more, originally featured a naked man in front of the fire. Eventually, they opted for clothing in the final version.

This album stands as the band's most successful, reaching number seven on Billboard and earning a Grammy nomination in 2004 for the song "Like a Stone."

It would be ridiculous to say "click play" now because if you do not do it automatically, there is nothing to talk about at all ...

So go ahead, do not make us vent ... Spotify, Apple Music

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