When Audioslave first appeared in 2001 with their self-titled debut, a fresh and new sound arrived with them, born from the funk-metal of Rage Against the Machine combined with the voice of Soundgarden frontman Chris Cornell. The two styles melded into something altogether different than anything the two bands had done previously.
Then, last year, the band released its slow, sophomore pop-fest, Out of Exile, that smeared most of what the band had created and left a disappointing residue behind.
Now, Audioslave has almost returned to its positive exile, mostly reacquiring the original style created by the band with the new album Revelations, with the only song on the album that really feels like it belongs on the lesser Out of Exile being “Until We Fall.” A slow, light piece, the song seems directly inspired by “I Am the Highway” from the band’s first album, only without any of the good parts like strong lyrics or a tangible somber mood.
Otherwise, the 12-track album hints of a return to the original self-titled debut. However, the band does not completely return there, and this is in no way detrimental to the band’s sound. Though the combined efforts of Tom Morello’s guitar, Tim Commerford’s bass and Brad Wilk’s drums still have more than a dash of Rage Against the Machine’s The Battle of Los Angeles to them, the sound is not nearly as blatantly Rage as it was on Audioslave.
Morello continues to put forth extremely experimental and unpredictable solos with the help of effects most guitarists never would have even considered possible, but this time it feels more like he’s playing them for Audioslave and not as a by-product of the band he came from. Every track on Revelations does not feel like it was written to be played loud and blaring, though. Tracks such as “Somedays” and “Jewel of the Summertime” stray from the typical metal-esque chord progressions used frequently by Morello and are replaced with a sound that fits more in a major key without losing any of the energy created by the band.
The drums on several of the tracks have a much more minimalistic feel to them than on the previous albums. Wilk’s usual highly coordinated rhythm is replaced on occasion with a more direct beat, as in the single “Original Fire.”
Commerford’s bass still hits as satisfyingly as usual, though he never really seems to get a chance to express anything beyond the written notes. The thrum of the bass melds seamlessly with Morello’s hard-edged guitar playing, creating the unified sound Rage and Audioslave fans have come to recognize, with a slight deviation from this norm on “Moth.”
Cornell continues to use his signature raspy vocalizing to meld over the funky vibe created by the supergroup, but this time around the mesh feels more complete. Out of Exile saw Cornell sounding awkward over the uncomfortably different notes issuing from the band’s instruments, but this time around the band forms a whole, instead of several pieces trying desperately to reattach. A minor production problem does slightly mask Cornell’s voice too much behind the powerful playing of the rest of the band on a few songs, but it is hardly noticeable upon repeat listens.
The strongest song on the album, maybe in Audioslave’s entire catalog, does not suffer from the production hiccup. “Moth,” the final and strongest song on the album, delivers a much harder-hitting bass and guitar line than previous songs on the record. Cornell’s haunting vocals in the chorus work perfectly over Morello and Commerford’s playing.
The other songs on the album, besides the generic “Until We Fall,” contain similar formulas to one another, but the intensity, bridges and solos vary enough to keep the album from becoming repetitious.
Overall, the album speaks as a re-envisioning of an already solid musical style. Audioslave’s return to the charts may not have the sheer power of Rage Against the Machine or the vast diversity of Soundgarden, but the mix is still enjoyable in a slightly more mainstream way. Revelations does not live up to its name, but the intent is clear: Audioslave is back, and hopefully the band will stay in exile this time.
3.5 of 5 stars
Audioslave – Revelations