Audioslave Name New Single

Zakrisk · Jul 12, 2006

I really like their new single! I have never been a fan of Audioslave, but I'll be checking out this new album.

2xPutt · Jul 12, 2006

never have been a fan of Audioslave, and this song isn't helping change my mind. maybe a song off the album will catch my fancy, only time will tell. I just feel that I should be throwing my hands up in the air and singing the lord's praise in church while listening to this song. isn't that what they wanted to sound like in the next album? "something different", maybe not churchy, but just different from their "rock" sound?

and i'm not trying to be a smartass, but I think my mom will like this, lol. she loves Audioslave. even took my younger bro to see them with 30STM, and Seether.

Zakrisk · Jul 12, 2006

2xPutt said:

I just feel that I should be throwing my hands up in the air and singing the lord's praise in church while listening to this song.
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Haha. The beginning of the song seems alot like that.

I can see this at the end of a movie when they have those cheesy dance things where everyone in the cast is at a party dancing while the credits go on next to them or something.

minusxerø · Jul 12, 2006

I can hear the whole 'r&b' feel to it all. Cornell certainly gives that impression in the style of his singing.

The guitar bit seems a bit... generic up until the solo. Then it's like yay.

Ryan · Jul 12, 2006

Yah this new single is kick ass. Can't wait for the whole album.

Ant · Jul 12, 2006

Finally, more flavor to Audioslave! They actually sound like a band now instead of Cornell singing over Rage Against the Machine.

savetomorrow · Jul 13, 2006

I'd say the song is like hardcore Sly and the Family Stone

Evil Angel · Jul 13, 2006

the song sucks but still i'll check out the album

Chris. · Jul 13, 2006

The song is catchy as hell, I love the feel to it too. I hope the whole CD is like this.

Cale. · Jul 14, 2006

Here is a review from someone in the Audioslave fan club.

THE BOOK OF REVELATIONS

Courtesy of Tom, management and SonyBMG, today I was lucky enough to be invited to attend a lunchtime press playback of "Revelations" on behalf of Audiophiles! I'll have a fuller report of today’s events for you later, in the pages of our first fan newsletter. But for now, I know everyone wants to hear how the new album sounds, so I'll do my best to give you a hot-off-the-sound-system Audiophiles report. After a single listen it’s bound to be sketchy, so please forgive any omissions - I’ll try to fill in more later!

It's a brutally powerful rock album. Absolutely no doubt about that. The sound is hard, bluesy, abrasive, sometimes funky and almost viciously concise; very tight, very coherent, and there are few moments which lay off the pace or the pressure. If anything, Tom's extended his sound palette but there's nothing on this album that you could call self-indulgent. There are memorable, singable hooks everywhere, the rhythm section are monstrously potent, and Chris's vocals are some of the most authoritative we've heard since Audioslave began.

Lyrically, it’s darker than Out of Exile. It’s not a return to the desperation of the debut album, but it reflects a mature man who’s started to take stock of his life and the damage he has suffered. It’s angry in places, but it’s not the uncontrolled anger of a young man; it’s the anger that comes with wisdom. Anger at a society which hurts and damages the innocent, anger at god, perhaps even anger at himself for time lost and unrecoverable. As he sings in “Shape Of Things To Come,” “I will lay no blame but on myself.”

Track by track:

Revelations: a blinder of an opener, possibly a single-in-the-making. A big riff, a huge memorable chorus. Chris is raging, insistent, challenging, shouting at god? “You know what I dream sleeping in my bed…why don’t you guide me in if I’m such a lost soul?…Since you know everything, just clue me in…I don’t want to live without your revelations”. It’s desperately bitter, yet almost sardonic. I could hear echoes of “Wooden Jesus”.

One And The Same: a wah intro from Tom, then the riff we know and a big, ballsy blues-rock vocal from Chris. This one is familiar from the live shows last year. The lyrics seem to be about the difficulty of trusting people, the danger of betrayal by people who “don‘t hate you“ but are “going to come kill you.…they don’t mean you any harm, it’s just what they do, could be your mother, your father, your best friend in the world.” The big, savage chorus is “love and pain are one and the same”.

Sound of A Gun: the recorded version has a wilder, crazier, more chaotic solo from Tom than the one we heard live, but otherwise it’s fairly unchanged. The song looks at the violence of the world, its mindless danger, from the point of view or someone who is safe enough to afford compassion….looking back at his own childhood “safe and wild, naked and unarmed” he pities the “innocent unknowns buried in the sand.” In wars, in gang killings, in drug deaths? Maybe all of them.

Until We Fall: starts with an acoustic guitar intro from Tom and for a while, tries to trick you that it’s going to be a “Doesn’t Remind Me” style ballad. Then in kicks its huge chorus, absolutely epic in size and scope. Lyrically, its packed with imagery of rescue and survival; a man who “slipped through the chainlink of a broken heart” to escape on the back of a giant bird. But there’s darkness, too, and mystery. “Who do you battle in your dreams? Who strokes your feathers till you scream?”

Original Fire: this one had the entire press room nodding their heads and grinning. It kicks like a battalion of mules, this one - fierce, male, brutal, tribal. It will be a HUGE live celebration. Not sure what it means - it’s one of those universally applicable ones, I think - but the chorus goes “the original fire has died and gone, but the riot inside moves on.” Ferocious solo from Tom, full of downward, scraping glissando, and a killer vocal with some beautiful feral screams.

Broken City: perhaps the most original song on the album - and no, it’s not “Sleight of Hand“. Here the vocal is the main point of focus - and there are masses of words, almost a Dylan or a Springsteen-style approach to song writing. Chris delivers them fast, almost talking some of them, almost throwaway, but as they tumble past you realise they’re as rich with imagery as ever. The city is female: “I watch her bleed and crack”. It’s rich with memory, an elegy for a dying way of life where “the shipyard is a graveyard,“ where once “they stole this town from the frontier”. There’s another big, killer, singalong chorus (“outside kicking in the broken city…”) an almost impish “doo doo doo” refrain and some wonderfully layered vocal effects.

Somedays: this one will rip your head off. The intro slices through the air like a big blade and the thing just doesn’t let up pressure. Big chorus, big Cochise-style yell going into the solo. And the lyrics? What it is to be human. “There’s no need to apologise for the riot in your eyes, but some days just ain’t so easy.”

Shape Of Things To Come: on first listen, maybe my favourite. One of the few low-key, restrained vocal performances from Chris in the verses; his voice gorgeously rich in tone. But then - once again, and if there’s a pattern to this album it’s this - it resolves into an utterly huge, in-your-face, make-you-cry-with-joy chorus. It’s about future-fear - the fear of a husband, of a father, for what the world might become. There’s hope in it, but it’s personal hope. “There is a crack in the clouds, but only for a moment now…I hold my family to my breast, I fear the worst but hope the best will come to see us blessed.” Every parent who watches the world will know what he’s talking about here. “Break down in the shape of things to come, but I’m moving like a soldier…”

Jewel Of the Summertime: those who thought this might be a soft and sappy love ballad need not worry. It’s probably the heaviest song on the album. There’s a big, scary Brad-and-Timmy intro, a solo from Tom so abrasive it rubs the skin off your brain, and a fiery, testosterone-soaked vocal from Chris. It’s not another horny “Man Or Animal”, though - it’s a grown man looking back over his life, revisiting the wild anger of his youth and the long dark night of his adult soul, all as if his life had taken a single day of sunrise, noon and sunset and a night when “all that I met were dark silhouettes“. Now, to borrow from Emily Dickinson, it’s morning again, excellent and fair. He’s “bathing in the bright ultraviolet rays, a jewel of the summertime.” A lovely moment near the end where vocal and guitar are playing the melody line in unison and seem to blend into one.

Wide Awake: quite simply, a protest song about the failure of the world and its leaders to act over Hurricane Katrina. Chris plays with the image of the hurricane’s “eye”; “follow the leaders”, he says, “were it an eye for an eye they’d all be blind.” I’d have to say that I found it the weakest song musically, though, which is a shame - but after one listen, it’s difficult to take everything in. Maybe it’s a grower. It’s certainly heavy and angry, vocals well to the fore, some incredible screams at the end, Shadow on The Sun-style. And some righteously angry sentiments: world leaders are “trading lives for oil”, “sleeping at a time when you should have been wide awake.”

Nothing Left To Say But Goodbye: quite simply heartrending. It’s the honest confession of a man who has been rescued from death. It’s the same kind of song as The Curse - in other words, an introspective piece of Cornell taken and raised to the nth power by a great rock band. But where the cracks showed in The Curse, here the joint effort is fully integrated, the band living and breathing every second of emotion, never sounding tacked on or extraneous. There’s a huge, lumbering, gorgeous bass-and-guitar figure near the end, and a big, monstrous double-tracked chorus. And with no false pride, no face-saving, but absolute honesty, Chris writes himself into the skin of a stray dog “I was hungry when you found me, and you could tell by my tail and my rib cage what was once around me….I’ll sleep at your feet, stand guard at your front door…I know a good thing when it throws me a bone.”

Moth: Another great big huge memorable rock statement to finish. Tom really digs deep here into his sound-hoard, pulling out something organ-like which sounds almost medieval at one point. The imagery is all survival; it might be Chris’s final up-yours to the booze and the drugs. “Thought I was smarter as I flew into the sun but it turned the way it does with everyone”. The killer chorus here is “I don’t fly around your fire any more, been burned and fallen down so many times before.”

So that’s it. These are songs of experience. Songs of strength. Songs of wisdom. But there’s more to it that that. Though the sound is epic, though the band are as tight and united as they’ve ever been, there’s a sense of hurt and pain and vulnerability here which might appeal once again to those who found Out of Exile too light, too joyous. It’s as though the euphoria of new beginnings - for the band as a whole, and or Chris himself - have given way to understanding and consolidation, and as the first fine careless rapture fades, the old scars start to ache, the memories must be dealt with, and the real, deep-down healing begins. This is the sound of people coming to terms: with themselves, with their past, and with the uncertain future of the world.
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$pvcxGhxztCasey · Jul 14, 2006

Yeah, sounds like a fluff piece by a huge Audioslave fan. I'll wait until an unbiased review comes out. Right now it's just sounding like every other first listen of a new album by a fan review. "With Teeth" was the same way, and look at that damn album.

Mark · Jul 14, 2006

I like the song, but that solo with about 1:20 left is just awful.

Link · Jul 14, 2006

Hell yes. I love Audioslave. Original Fire is my favorite single so far this year from any band.

Evil Angel · Jul 14, 2006

Casey said:

Yeah, sounds like a fluff piece by a huge Audioslave fan. I'll wait until an unbiased review comes out. Right now it's just sounding like every other first listen of a new album by a fan review. "With Teeth" was the same way, and look at that damn album.
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who knows they could have paid him too.i completely agree with you

Cale. · Jul 17, 2006

Two new songs from 'Revelations' on the Miami Vice soundtrack which comes out on July 25th.

Soundtrack listing, from IGN.com:

"One of These Mornings" - Moby with Patti LaBelle
"Anthem" - Moby
"Shape of Things to Come" - Audioslave
"Wide Awake" - Audioslave
"Auto Rock" - Mogwai
"We're Not Here" - Mogwai
"In the Air Tonight" - Nonpoint
"Ready For Love" - India.Arie
"Numb/Encore" - Jay Z/Linkin Park
"Sinner Man (Felix Da Housecat's Heavenly House Mix)" - Nina Simone
"Blacklight Fantasy" - Freaky Chakra
"Strict Machine (We Are Glitter Goldfrapp Mix)" - Goldfrapp
"Arranca" - Manzanita
"Sweep" - Blue Foundation
"Pennies in My Pocket" - Emilio Estefan
"New World in My View" - King Britt & Sister Gertrude Morgan
"Fate Scrapes" - Elliot Goldenthal (from Heat soundtrack)
"P for Piano" - John Murphy
"Daniel" - James Newton Howard (from Collateral soundtrack)

Evil Angel · Jul 17, 2006

they've put up the guitar tab for Original Fire on UG

Link · Jul 18, 2006

Wide Awake is on there... What the hell. That's the Katrina song.

2xPutt · Jul 26, 2006

didn't think i should make a new thread about this, but just found out that Chris Cornell is going to be doing the theme song for the new James Bond film "Casino Royale"

http://www.comingsoon.net/news/movienews.php?id=15687

Dean · Jul 26, 2006

That'll be... interesting, for want of a better word.

Evil Angel · Jul 26, 2006

wow thats nice.

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