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Sep 14, 2017This is not a subtle record, but these are not subtle times. So grab a Marshall stack, put it through a fascist’s window and let’s start the revolution. Now.
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Kerrang!Sep 11, 2017An outfit possessed of a murderous groove. [9 Sep 2017, p.51]
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Sep 7, 2017These tracks aren't revolutionary classics on the same level as “Killing in the Name” or “Fight the Power” just yet, but nevertheless, they raise a fist to all those who continue to fight ignorance, hypocrisy, brutality and the elite.
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Sep 5, 2017The combination of Chuck D and B-Real’s wholly different vocal deliveries is a revelation throughout: the former’s commanding baritone and preacher’s power contrasting beautifully with the latter’s nasal sneer and street-smart menace. Similarly, the chemistry between Morello, drummer Brad Wilk and bassist Tim Commerford has never been in doubt, and here, while generally less aggressive than they were in their youthful pomp, that effortless ensemble groove ensures that none of these tracks will fail to free minds and asses.
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Sep 20, 2017The message feels less than vital at a time when vitality is so needed, and no, there will be no revolution off the back of the subversive royalty involved in this release. The slogans feel thin, but the music itself is substantive. Whether that counts as a success or not comes down to what you came here for.
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MagnetSep 18, 2017None of the tracks approaches the frenetic monstrosity of the Public Enemy song they're named after. But "Strength In Numbers" and "Who Owns Who" are some of the most ripping music anyone involved had made in years, and they're not all repeating themselves. [No. 146, p.59]
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Sep 15, 201712 hardrocking lefty diatribes against government conspiracies ("Drones – they got ya tapped, they got ya phone," Chuck D raps in "Take Me Higher"), civil injustice ("We fuckin' matter," he declares on "Who Owns Who") and, in the case of B-Real's rhymes, restrictive weed laws ("Legalize Me").
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Sep 14, 2017Corny super group-nostalgia act trying to live up to the untouchable legacy of the members' previous bands? Or timely, and much-needed visceral response to trying times? It depends on your outlook. Prophets of Rage might not be the rap-rock group we need, but maybe they're the one we deserve.
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MojoSep 5, 2017Though this debut might lack any real moments of surprise, guitarist Tom Morello still manages to squeeze unholy sounds out of his instrument while Chuck D's apoplectic anchorman baritone reminds us of his lyrical power and unique timbre. [Oct 2017, p.96]
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The WireOct 11, 2017Prophets Of Rage can’t help sounding a little male-menopausal even if lyrically the targets remain crucial and the trajectory remains ferocious thanks to the sheer undimmed timbre of Chuck’s meshrattling voice. [Sep 2017, p.55]
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UncutSep 5, 2017Most of the original tunes on this self-titled debut are formulaic, slogan-heavy jams that rest too heavily on past glories. [Oct 2017, p.36]
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Sep 19, 2017The band hasn’t done themselves any favors by sticking so closely to the sounds of their youth, either--not that they were ever going to top the pipe-bomb intensity of their earliest recordings, anyway.
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Sep 15, 2017The album’s lack of originality extends to its music as well as its sloganeering.
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Oct 12, 2017This album and The Party’s Over share many of the same problems that the band can't seem to shake off. Whether you were fan of Public Enemy, Cypress Hill or Rage Against The Machine first I think you’ll agree that this whole project just comes off as clumsy.
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Sep 15, 2017Forget the fact that even at its best moments the album still kind of sounds like a RATM reunion minus Zack de la Rocha, the biggest issue with ‘Prophets Of Rage’ is that it’s not as radical as it thinks it is. Is it competent and confident, energised and engaging? Sure. But there’s nothing new here.
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Sep 14, 2017For the most part this is a revolution that feels sanitised.
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Sep 13, 2017The RATM members still manage to stir genuine, potentially powerful emotions, but the tracks never get too far before ruinous effects, puerile 'all right' choruses, and chiming end rhymes cause them to collapse.
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Q MagazineSep 5, 2017The message is as subtle as a street riot but the delivery mechanism ('90s funk metal, barked tirades) creaks with age. [Oct 2017, p.108]
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Sep 13, 2017It is an album of obvious statements set to equally thudding music, liable to move and inspire no one.
User score distribution:
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Positive: 8 out of 24
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Mixed: 7 out of 24
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Negative: 9 out of 24
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Sep 18, 2017
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Sep 17, 2017
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Sep 16, 2017