Thanks to these records, RATM remain the political band of our time, but one can’t help but wish they were still spitting fire in response to some of the shitshows over the last 20 years, too. Bush and America’s painful lurch into the 2000s.
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Then 1999’s third (and, for now, final) album The Battle Of Los Angeles carried them to full superstardom on the back of songs like Guerrilla Radio, Testify and Sleep Now In The Fire a full year before the arrival of George W. Its less-celebrated follow-up Evil Empire – still packing classics like Bulls On Parade, People Of The Sun and Down Rodeo – arrived seven months before the 1996 vote, which Bill Clinton would also win. Bush ousted by charismatic Arkansas Democrat Bill Clinton, their searing self-titled debut remains the greatest protest album of the modern era, perfectly fusing hip-hop, punk and metal to incendiary effect. Dropping on the day of the 1992 presidential election that saw Republican one-termer George H.
In many ways, Rage Against The Machine’s three-LP catalogue of original material is as tantalising as it is thrillingly concussive. With Trent having gotten clean, 2005’s With Teeth reflected a renewed urgency and clarity, with tracks like The Hand That Feeds and Only paying off an 11-year journey through deepest darkness and back out into the light. At over 100 minutes long and punctuated with numerous instrumentals, it is a challenging gaze into a tortured psyche. With Trent falling into his own spiral of abusing alcohol, cocaine and a variety of other substances, double-album follow-up The Fragile is a sprawling work of tortured genius. The Downward Spiral is his undisputed masterpiece: a dark industrial concept-album tracking the suicidal descent of its protagonist across the rage and sleaze of songs like March Of The Pigs and Closer to the ultimate desolation of Hurt. Still, mainman Trent Reznor went on one hell of a trip between 19. It’s tempting to list Nine Inch Nails’ first three albums here, beginning with 1989’s Pretty Hate Machine, but the existence of the (superb) 1992 Broken EP muddies the waters somewhat. Plenty of artists have multiple personas, but very few are this consistently compelling. Then Danger Days saw them turn 180 and speed full-throttle into the light for their musical interpretation of dystopian sci-fi, which pulsated with all the knowing luridity and swagger of a well-made B-movie. The Black Parade was their great pitch-black concept album, channelling the mystery and tragedy of death and the afterlife through the high-pomp pageantry of Queen and David Bowie. Imbuing the angsty pop-punk of peers like Fall Out Boy with their own darker sensibilities, Three Cheers For Sweet Revenge cast them as high school outsiders, switching mischievously between melodrama ( Helena, The Ghost Of You) and spiky defiance (I’m Not Okay, Thank You For The Venom). After much debate, here we present our cross-genre, cross-generational list of the all-time best three-album runs…Īlthough 2002 debut I Brought You My Bullets, You Brought Me Your Love remains an intriguing introduction, it was across their latter three albums that My Chemical Romance fully unlocked that particular blend of aesthetic, emotion and sonic adventure with which they would win their legion of fans.
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For comparative purposes, we reckon that three is the magic number, though: a stretch long enough to be remarkable but sufficiently contained to encapsulate the careers of short-lived legends such as Nirvana and red-hot young guns like Code Orange. As were Black Sabbath’s first six, and Iron Maiden’s first seven. Metallica’s first five albums were close to perfection. Of course, the exact nature of that sweet spell differs from artist to artist. Whether hammered out in a matter of months or developed glacially over a decade-plus span, it’s ever so satisfying to pore over a band’s back-catalogue and bracket out an extended stretch when they were at their momentous peak.
Whenever a band really hit their groove and rack them up successively, however, it tends to feel extra-special, proving that the players in question are no flash-in-the-pan, showcasing an artistic progression without any trade-off in quality. Every classic album is cause for celebration.
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