Unitron "My only gun control is a steady hand"

Have more badass words ever been spoken on an album? I don't think so. While Snappin' Necks showed how good rap-thrash could truly be, Stuck Mojo went all out with aggression and a new atmosphere with Pigwalk.

Pigwalk is like Strapping Young Lad meets The Prodigy with Bonz's no holds barred vocal attack that is like Busta Rhymes on crack. This is an album of industrial machinery, ominous breakbeats, and some of the most aggressive rapping put to record. What reminds me of Strapping Young Lad could come from Devin Townsend being at the producing helm (with a couple vocal screams too), which definitely gives Stuck Mojo's crushing sound an extra electronic bite.

Mental Meltdown, (Here Comes) The Monster, Only the Strong Survive (which the opening lyric comes from), Violated, and the chugging mosher of Down Breeding are my personal favorites, though the whole album is great. Inside My Head is an interesting break in the metal, being an ominous ambient breakbeat track.

The following album Rising is my favorite Stuck Mojo album, but this is a close second.

SilentScream213 Another one of those “did it first” albums that in my opinion doesn’t live up to the hype its legacy implies. Aside from Anthrax’s “I’m the Man” and a couple Faith No More songs (if we’re being generous), there really wasn’t much Rap Metal prior to RATM, and certainly not a full album of it. The band certainly took a unique approach and recreated Hip-Hop using entirely real Rock instrumentation and original music, even using some guitar effects to mimic sound effects you might hear in traditional Hip Hop. It’s innovative, but a lot of those “guitar sound effects” end up sounding really annoying, like the siren whine on “Fistful of Steel” or the bass drops on “Township Rebellion.”

Zack sounds angry, and his delivery is good, but man some of the lyrics are weak. Oftentimes he’ll repeat a phrase over and over, and the chorus to the first song gives you a sense of that, where he just says “burn, burn, yes you’re gonna burn” a whopping 8 times. The guitars and the drums suffer the same problem. Sometimes Tom comes up with a decent riff, but after hearing it repeated 16 times over a very boring, monotonous drumbeat, I’m sick of it. The riffs don’t match Zack’s mood, either; they’re far more groovy than angry, and the slow, simple drumming gives no sense of urgency or energy to what /should/ be an angry, energetic album. The music sounds like something to chill out to, not exactly what you want for a revolution. The songs are also way longer than necessary, none under 4 minutes and repeating the same simple ideas over and over again. They’d be much better in short chunks, but they wear themselves out before they’re over.

One huge plus to this album is the bass. Timmy does a phenomenal job with his rhythmic groove, doing way more than backing the band and adding super spicy melodies to the mix. This is the one instrument I didn’t find repetitive at all; he’s definitely got a “lead bassist” thing going on.

Overall, not a bad album at all, but one of the most overrated in my opinion. Rap Metal is a genre that might not have too much room to succeed, but I’d love to see later bands take it in a different direction.

Unitron Many rap metal bands were a lot more metal than hip hop, that's not to diss all those bands, Stuck Mojo is probably my favorite rap metal band but you could just as easily call them a thrash/groove band. From a standpoint of reaching the peak of what a genre can be, I'd say the unfortunately forgotten Shootyz Groove perfected it like no other band prior to the nu metal explosion where better and deeper genre infusion became more common.

When the band name drops both Slayer and A Tribe Called Quest in the liner notes as inspiration, you know you're getting the real deal. These guys have the riffs of a thrash band, the funky hooks of both hip hop and funk metal, and the lyrical flow and performance of a classic hip hop group. The first thing I thought of when I first heard them is if The Pharcyde went metal. The way the two rappers trade off one another and their exuberant delivery reminds me a lot of the aforementioned band, especially in my two favorite tracks In the Ocean and Soulfreak. In the Ocean especially stands out, with the vocals flowing perfectly with the song's thrash riffs.

This is the kind of album that perfectly appeals to both hip hop and metal fans.

siLLy puPPy Although rapping to metal music had started as a novelty as far back as 1984 with an all but forgotten dude named the Lone Rager, the possibilities really seemed to take a life of their own when Anthrax shocked the world with their unique thrash metal / hip hop hybrid song “I’m The Man” but the world pretty much wrote it all off as a joke and wasn’t quite ready for the musical collaborative efforts of a perceived black’s only style of music with the predominant whiteness of metal music. Part of that problem was the fact rap music hadn’t gone mainstream yet and it wasn’t until RUN-DMC released its cover of Aerosmith’s “Walk This Way” which featured both Steven Tyler and Joe Perry that the world finally realized that rap music was a major force in the world of music. While still considered somewhat of a novelty once Fatih No More hit the top 10 on the Billboard chart with its 1989 rap metal hit “Epic,” it seemed that it was destiny that this cross-pollination was here to stay.

While rappers like Ice-T and funk rockers like the Red Hot Chili Peppers were becoming heavier, it wasn’t until the LA based RAGE AGAINST THE MACHINE released its self-titled debut in 1992 that the world of rap metal really became an international phenomenon. While the antecedents of this hybridization had hinted at the possibilities, this band that consisted of Zack de la Rocha (vocals), Timmy Commerford (known as Timmy C on bass), Tom Morello (guitar) and Brad Wilk (drums, percussion) really set the world on fire much like the self-immolating Thích Quảng Đức who was the Bhuddist monk who famously went down in history for that famous photo of protesting the Vietnamese war by sacrificing his own life. What a perfect album cover for a band that focused on political revolution and absolutely nobody has done the rap metal thing better than RAGE AGAINST THE MACHINE did on its first album.

Part of what makes this album so ridiculously awesome is that all four members were extremely dexterous in how they hybridized hip hop and heavy metal namely by emphasizing the strengths of both and not forcing rap lyrics into some incongruous style of metal music. With the emphasis on the lyrical content, RAGE AGAINST THE MACHINE benefited by Zack de la Rocha’s superb poetic prose that he delivered with a vocal precision of the most gifted of rappers along with the extreme vocal angst of what metal offers. Graced with a strong bass funk driven groove section with heavy distorted guitar riffs and crushing percussive drive, the band was also lifted by Tom Morello’s uncanny ability to interpret DJ oriented music and channel it through his guitar offering some of the most unique soloing techniques in all of metal history, a style as distinct and unique as this band proved itself to be.

The other factor that makes this debut so utterly brilliant is that each of the 10 tracks has its own developed personality with a diverse array of melodic grooves that provided the perfect backdrop for De la Rocha’s hot on the mic passion and hunger for a more just world. While the grooves provide the basic funkified groove, RAGE AGAINST THE MACHINE excelled at creative breakdowns, unexpected interludes and a firm sense of command for diverse dynamics. Add to that Morello was uncanny in how he could exploit the guitar to create sounds hitherto unthinkable. He truly had a gift of interpreting guitar playing in a way that absolutely nobody before had considered and although new ideas may be interesting they don’t always result in a satisfying experience. Not the case with RAGE AGAINST THE MACHINE despite the fact these youngsters had only begun their career. This album sounds like a group fo seasoned professional as far as the musicianship is concerned only with the fiery punk fueled passion of youthful discontent.

This one was really love at first listen and even now after i pull it out every so often i’m reminded at how intense and absolutely perfect this album is. While it’s rare for a young band to totally come out with a completely new genre of music, it’s even rarer when that first release was already taken it to its logical conclusion. Yeah, RAGE AGAINST THE MACHINE is blamed for the entire nu metal scene (by the haters) that followed and for wankers like Limp Bizkitt to follow but one can’t condemn any band for inspiring inferior imitators after all. IMHO, this debut album remains the best example of rap metal to have ever existed and it seems unlikely it will ever be improved upon. A true gem of hip hop, funk, metal and political fervor as scorching hot as the album cover suggests. An ALL TIME CLASSIC!

siLLy puPPy Once Korn dropped its innovative new style of music that would be called nu metal on the world, it was an invitation for all the angsty youth of the alternative 90s to hop on the bandwagon of a new musical trend that adopted the heavy bombast of 80s hardcore punk and metal and hybridized it with funk and hip hop. While the style would only last about 10 years and burn out completely, there sure were a lot of bands that followed Korn and while a few like Limp BIzkit, Papa Roach, Stained and Slipknot would experience unthinkable popularity, many more bands cranked out a release or two and then faded into obscurity.

Such is the case for the Riverside, California based JEDI SEX TRIK which emerged from the ashes of a band called Code 13. This nu metal band that employed hardcore hip hop rapping featured five members with connections to another Riverside alternative rock band Alien Ant Farm. There is almost know info about JEDI SEX TRICK that i can find. It seems this band came and went rather quickly and only released this one tiny self-titled EP that came out in 1999. It was released independently with very few copies so it’s probably next to impossible to find and the only trace of its existence is one fan who posted clips of the five tracks on YouTube.

As far as originality goes, JEDI SEX TRIP didn’t have much to go around. These five tracks are clearly influenced by Korn in the musical department with those distinct rhythmic bass grooves however the tempos and emphasis on heavy guitar heft is much more out of the Slipknot playbook. The most obvious influence though comes from Rage Against The Machine with the rapped vocals that dominate however there are also some dual vocal attacks with growly counterpoints. Despite the clear worship of those more popular aforementioned bands, JEDI SEX TRIK was successful in crafting a nice hybrid effect of those bands and this tiny musical specimen is not a bad listen at all and much better than some of the more popular bands like Limp Bizkitt (ugh) for example.

True that this one doesn’t warrant seeking the planet high and low to add it to your collection unless you are one of those nu metal worshippers who lives to attain every single example of the genre but of all the nu metal acts that came and went, JEDI SEX TRIK had a stylistic approach that deemphasized the irritating factors of the genre and focused on the strengths. While some will be put off by the rapped vocals, this is after all rap metal right out of the Rage Against The Machine playbook and although not nearly as innovative and accomplished as that band still cranked out a decent DIY sounding slice of this style of hardcore from at the turn of the millennium and well worth a listen or two.