Raging against an unjust world
by Adrian Stoic
transcribed by Jamie Murdoch

The reputation of rock artists is based on integrity and credibility.� A lot of bands claim these attributes, while some appear to have it naturally and in abundance.

� One such band is Rage Against The Machine, the Los Angelinos foursome. They have had it since their first eponymous album in 1992; it increased with its supplant, Evil Empire (1996) and is bound to shoot through the roof with their third album, The Battle of Los Angeles, released in New Zealand on Tuesday.

� The new album is more funky but also heavier, a return to the spirit of the first album in a way, with the most potent lyrics singer Zack de la Rocha has penned yet.� The subject matters are the usual fare one would expect from these rock-militants, lashing at the discrepancy of supposed democracy in American society.

� It might be three years since the previous album but RATM haven�t lost their angst, edge and indignation with the political-economic-social situations of the vast majority of humans.

� During the interim, they�ve kept fans going with soundtrack contributions (Spawn, Godzilla, The Faculty, Small Soldiers, the Matrix); and collaborations (guitarist Tom Morello guesting with The Prodigy, Snoop Doggy Dogg�s Snoop Bounce for MoM3), a cover of Bruce Springsteen�s The Ghost Of Tom Joad for No Boundaries and the Kosovo Refugees� charity album.

� They also continued their involvement with different causes, from Refuse and Resist, Rock for Choice, to their personal concerns, such as two inmates on death-row: both convicted murderers whose trials have been badly mishandled but are prevented from re-trials while sitting in jail for 17 and 22 years respectively.

� RATM are so dedicated to their beliefs they appeared naked at a Philadelphia show to protest against attempted censoring by Parents Music Resource Committee when each member had one of the PMRC words stenciled on their chest.

� Integrity and credibility is like their natural right, which is not surprising considering de la Rocha�s father was a political activist and Morello is a nephew of Jomo Kenyatta, the Kenyan freedom fighter who went on to become the country�s first president.� Morello, de la Rocha, bassist Timmy C and drummer Brad Wilk are four such different characters they refuse to share an interview and insist on talking separately to journalists.� �We need space because the inter-band relationship is so intense,� Wilk says.

� Artists naturally claim their latest work is their best and they are not going to differ.� �Definitely not.� I feel there are a lot more songs on this album,� says Timmy C.� �On the last album I thought, when I listened back to it, there were three really good songs.� On this record I feel there are seven or eight songs out of 12 that make me feel pretty excited.�

� De La Rocha says: �I agree although I�m pretty close to the record and haven�t had the time to reflect on it.� I went back in to re-record a part of the lyrics, to make it more contemporary.� Doing interviews helps me analyse music.�

� Wilk: �A lot of people ask us about taking four years but our records are like jewels.� And very rare ones.� That is the point, make it special and an occasion.� We want our albums to be events and not just something you put out because your contract dictates it.� If you do that you show disrespect to your fans and they find you out very soon.�

� The band still find longtime producer Brendan O�Brien the most sympathetic to bringing their message to listeners.� �Yes, the numbers are rising among young people and he helps us to sound off the illusion that is democracy in America,� says de la Rocha.� �Music and involvement in different issues points younger people towards the real issues and not just to view music as an entertainment only.�

� �The first record was a rally cry, anthem-type record, much more broad, the second one was like a history record and you really had to be versed in some of the ideas,� says Timmy C.� �It was one of the very few times I had to ask questions and do some research.� This one is very emotional, very passionate, the lyrics are much personal, much more direct and really soulful.�

� RATM usually create democratically.� Has anybody ever come to the recording with a whole song?� �No, nobody, we don�t work like that,� says Wilk.� �Someone would have a riff, a beat, a bass-line or a melody-phrase and we�ll all work on it.� From then on it will be built and that�s where our chemistry as a band comes alive.� And if one person doesn�t like something about the song it gets dropped.� Or at least changed because everybody in this band needs to be happy with the songs we are playing.� Which must prolong the process.� Morello was quoted saying that a further delay on this album was caused by de la Rocha�s late delivery of lyrics. �True, he took an extraordinarily long time and got really late at delivering lyrics,� agrees Morello.� �That makes me feel very frustrated but the upside is that I work with three incredible musicians who make powerful music that is a unique product of our chemistry.�

� �This is not a band that should ever hurry things because we need time to get everything in its place,� says Timmy C.� �Zack took his time with the words and it is good he did because the lyrics are just incredible.� The first time he was doing it much faster and you could tell.� He needs his space and time and every song has to be just right.� Just listen to Born Of A Broken Man and you�ll hear something poetic.�

� RATM have always had an idealistic view of the music - which must be opposite to that of their employer, Sony Music, which has a fiscal aim.

� Timmy C: �How not to believe in the power of music when I was watching the news report on East Timor and this guy was climbing up the pole to tear down a flag and he had a Rage Against The Machine T-shirt on!�

� �We are in a position to offer people an alternative to discussing and influencing politics via different means,� says de la Rocha.� �This is our platform from which we can voice our opinions.� We use a big corporation because it is mutually beneficial to exploit each other.� What we see as a rebellious music and an opportunity for profit.� But they communicate our ideas and we are their employers, that is the bottom line.�

Sunday Star Times (New Zealand) 31 October 1999