Here we are in the year 2002, and music all around is redundant once again. Everyone is looking for the new savior of rock. Surely the answer cannot be found in a band composed of contemporary rap-punk innovators Rage Against the Machine sans front man Zack de la Rocha and the former Soundgarden lead Chris Cornell, right? Rest assured, Audioslave isn’t that savior, however, they do release one of the best albums of the new millennium!
Chris Cornell had already established himself as a star through his later Soundgarden days, the Andrew Wood tribute album/band Temple of the Dog, and his solo debut in 1999, before he signed on to join the remaining members of Rage. His glorious wail and unparalleled vocal range assures his spot amongst legends as a great singer. Additionally, his songwriting abilities are top-notch, as revealed in the depth of his debut album Euphoria Morning, hinting at a softer side not often seen. In contrast, Soundgarden was a grunge icon, known for their stirring use of harmony to bring out the best of anger and sadness. Thankfully for Soundgarden fans, Cornell gets to revisit those days on Audioslave’s debut. Many of the songs here are similar to Soundgarden’s earlier work. Cornell is not solo anymore, and it shows; to back him up are Rage guitarist Tom Morello, and the killer combination of Brad Wilk and Tom Commerford on bass and guitar. Morello keeps all of his tricks from the Rage days, and Audioslave proves that a supergroup can do more than just produce “more of the same.”
The awesome might that is Audioslave begins with the radio-friendly “Cochise.” “Cochise” starts with a powerful drum introduction that grows louder until the guitar kicks in, and then everyone knows what is in store. In reality, “Cochise” is a token gimmick song with stale lyrics but a great beat. The vocals–much like every song on the album–are performed nicely by Cornell, letting the listener know he still has it. However, it is one of the weakest tracks on the whole album. Next up is “Show Me How To Live,” with a catchy bass riff and chorus, representing the funk-punk side of Rage with the melody of Cornell. “Gasoline,” the band’s kiss-off to the pains of society, contains one of the strongest examples of the energy and power of Audioslave at their peak. Every player connects with the others and produce so much noise that they could very well ruin Soundgarden’s reputation. “What You Are” is a change of pace for the supergroup, with a touching performance by Cornell and a trademark guitar solo by Morello. “Like A Stone” is yet another radio hit that features a subdued Morello on guitar but the best vocals on the whole album.
Easily the heaviest rocker is the following track: “Set It Off.” Its beauty is in its simplicity. It has a chorus consisting of a mere three words (repeating the title), yet it is funk-rock at its purest and best. If you aren’t head-banging to this song, you could be dead. After the sonic boom that is “Set It Off” finishes, the album seems to shift focus from explosive energy to lyrical and instrumental mastery. Morello proves his talent on “Shadows of the Sun,” and Cornell sings a genuine masterpiece in “I Am The Highway”–the latter is a poignant relief for your senses. The afterglow is short-lived, though, and “Exploder” quickly revives the head-banger in all of us, complete with cognitive verses of self-awareness. The sound explosion continues all the way up to the final track. “The Last Remaining Light” is the perfect way to end an album after assaulting the audience’s eardrums thoroughly; it’s softer and intriguing, with a chorus that leaves much to contemplate: “If you don’t believe the sun will rise, stand alone and greet the coming night.” Does that allow hope for a sophomore album, or is this supergroup done?
Audioslave does a remarkable job of combining the psychedelic funk and excellent guitar work of Rage Against the Machine with the deep and distinct vocals of Chris Cornell. One might think that being outnumbered three-to-one would weigh heavily against Cornell, but the truth is Audioslave derives more of their sound from early Soundgarden. For Rage and Soundgarden fans alike, that is nothing to fear. Cornell proves once again–in his fourth(!) musical outfit–that anything he touches is gold. Wholeheartedly recommended to Rage and Soundgarden fans, as well as those searching for something different in rock.
Audioslave is the best release of 2002.