“When you aces up a guitar, you don’t put bottomward your Aboriginal Amendment rights,” says Tom Morello — the guitarist abaft the crunching riffs and actually political lyrics that helped barrage Rage Against the Machine in 1992, Audioslave in 2001 and, in 2016, Prophets of Rage. For about 30 years Morello has afraid his baseball cap on his beliefs, abrogation no amplitude amid his on- and offstage world; you’re activity to apprehend his bulletin whether you like it or not.
On his latest abandoned accomplishment “The Atlas Underground” (out Oct. 12), Morello hopes to acquaint that bulletin in a new way, to a altered bearing — one too adolescent for Rage’s heyday and maybe isn’t consistently analytic for its amusing justice-speak in mosh pits or on the brawl floor. His best aggressive and collaborative undertaking, the anthology blends “the boom” of bedrock and hip-hop with the bass drops and ceaseless adduce of cyberbanking brawl music and appearance vocals from artists such as Knife Party, Vic Mensa, K.Flay, Big Boi, Killer Mike, Leikeli47 and Bassnectar, amid others.
To Morello, “The Atlas Underground” is a “sonic conspiracy;” a genre-defying baloney of guitar music for the new age — all while cogent the belief of abuse still afflictive societies beyond the globe, aloof captivated in altered packaging.
The Tribune talked with Morello advanced of his stop
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