All Music Guide Review
                You can feel it coming, but it's still scary. The drums build in 
                theusual, obvious way, but then suddenly the volume is louder 
                than it'ssupposed to be. I'm talking about "Bombtrack," the 
                first cut on theself-titled debut by Rage Against the Machine, a 
                band that should bethe best-known band in America by the time 
                this gets into print.
                
                The song begins with a super-tight John Bonham stomp-fest 
                guitar-and-drumriff behind Zack de la Rocha's militantly 
                anti-American,anti-corporate, anti-everything-nasty rap. He's 
                wonderfully whiny,fantastically nasal and it all adds to the 
                effects of a pubescent kidjoy-riding a tractor through a mall. 
                Only this kid's screamingsomething vaguely anarcho-syndicalist 
                and firing his old man'snickel-plated magnum at every symbol of 
                Republicanism he can see. TomMorello starts scratching on his 
                guitar, doing the work of twoturntables, in an update of that 
                famous Martin Barre riff from JethroTull's "Locomotive Breath."
                
                The next track, "Killing in the Name,"makes Jane's Addiction 
                sound like tourists in a Santeria shop. Themusic is dissonant, 
                violent, manic and, above all, driven by crunchinggrooves. Rocha 
                assails the cross-burning segments of our society whilethe other 
                players thrash their asses off. Morello does things to hisguitar 
                that shouldn't happen to a dog. The only precedent for thissound 
                was the collaboration between Anthrax and Public Enemy, but 
                thedifference here is, no sampling, no synthesizers, no 
                keyboards.
                
                Dimitri Ehrlich, Pulse!
                
                Tillbaka