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▄▄░▀████████▄▄▄║D e B T i s S l a V 3 r Y S T u P i D║░▄▄▄████████▀░ ▀
░▓█████▓░░░ ░ ╚═══════╗ ╔══════╝▀ ░ ░░░▓█████▓░
░▓████▓░░▀▀ ▀ ║DuBi0uSlY EnDoWs YoU WiTh║ ▀ ▀▀░░▓████▓░
▄▀░████▓╔═══════════════╩═════════════════════════╩══════════════╗▓████░▀▄
░ ▀▓████║ Audioslave-Audioslave-2002-DeBT_iNT ║████▓▀ ░
▀ ░████╚════════════════════════════════════════════════════════╝████░ ▀
▀░████ ▄ ▄ ░▓████░▀
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▄▄▀▀███████████▀▀▀ ▀▀████████████▀▀ ░
▄░▓███████▄▄▄░ ARTiST.... Audioslave ░▄▄▄███████▓░▀
░▓█████▄░░ ▄ ▀ TiTLE..... Audioslave █████▓░
▀░████▓░░▀ ░ ▀ LABEL..... Epic ▀ ░ ▀░░▓████░▀
░▓███▓▓░ ▀ ▄▓▄ GENRE..... Rock ▄▓▄ ▀ ░▓▓███▓░
▀▀░███▓░▄▄░ RiP.DATE.. 2010-02-22 ░▄▄░▓███░▀▀
▀ ▄███▀░░ STOREDATE. 2002-11-19 ░░▀███▄ ▀
░░▄▄██▀▀▀ SOURCE.... CDDA ▀▀▀██▄▄░░
░░▄▄██▀▀▀ QUALiTY... 251 kbps / 44.1kHz / Joint-Stereo ▀▀▀██▄▄░░
▄ ▄███▀░░ TRACKS.... 14 / 65:30 MiN ░░▀███▄ ▄
▄▄░███▓░▄ ░ SIZE...... 117,6 MB ░ ▄░▓███░▄▄
░▓███▓▓░ ▄ ▄▓▄ RIPPER.... EAC Secure with Lame 3.98.2 ▄▓▄ ▄ ░▓▓███▓░
▄░████▓░░▄ ░ ▀ URL....... www.myspace.com/audioslave ▀ ░ ░░▓████░▄
░▓█████▄░░ ▄ ▄ ░░▄█████▓░
▄░▓███████▄▄▄░ ░▄▄▄███████▓░▀
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▀ ▄ ░░▓█▀ ▀▀ ▀▀ ▀▀ ▀▀ ▀▀ ▀▀ ▀▀ ▀▀ ▀▀ ▀▀ ▀▀ ▀▀ ▀▀ ▀▀ ▀▀████▓░░ ▄
▄░███ NR. TRACKNAME TiME ████░▄
▄ ░████ ████░ ▄
░ ▄▓████ 01 Cochise 03:42 ████▓▄ ░
░ ▄▓████ 02 Show Me How To Live 04:38 ████▓▄ ░
░ ▄▓████ 03 Gasoline 04:40 ████▓▄ ░
░ ▄▓████ 04 What You Are 04:09 ████▓▄ ░
░ ▄▓████ 05 Like A Stone 04:54 ████▓▄ ░
░ ▄▓████ 06 Set It Off 04:23 ████▓▄ ░
░ ▄▓████ 07 Shadow On The Sun 05:44 ████▓▄ ░
░ ▄▓████ 08 I Am The Highway 05:35 ████▓▄ ░
░ ▄▓████ 09 Exploder 03:26 ████▓▄ ░
░ ▄▓████ 10 Hypnotize 03:27 ████▓▄ ░
░ ▄▓████ 11 Bring Em Back Alive 05:30 ████▓▄ ░
░ ▄▓████ 12 Light My Way 05:04 ████▓▄ ░
░ ▄▓████ 13 Getaway Car 05:00 ████▓▄ ░
░ ▄▓████ 14 The Last Remaining Light 05:18 ████▓▄ ░
▀▄░████▓ ████░▄▀
░▓████▓▄ TOTAL TiME: 65:30 min ████▓░
░▓███████▄ TOTAL SIZE: 117,6 MB ▄█████▓░
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░▓█████▓░╟─────────────────────────────────────◄RELEASE NOTES►╢░▓█████▓░
░▓████▓░░║ ║░░▓████▓░
▄▀░████▓░▀║ ║▀░▓████░▀▄
▄▀░████▓░▀║ It's subtle, but telling, that the cover of ║▀░▓████░▀▄
▄▀░████▓░▀║ Audioslave's eponymous debut is designed by Storm ║▀░▓████░▀▄
▄▀░████▓░▀║ Thorgerson, the artist behind Pink Floyd's ║▀░▓████░▀▄
▄▀░████▓░▀║ greatest album sleeves. Thorgerson, along with ║▀░▓████░▀▄
▄▀░████▓░▀║ Roger Dean, epitomized the look of the '70s, the ║▀░▓████░▀▄
▄▀░████▓░▀║ era of supergroups, which is precisely what ║▀░▓████░▀▄
▄▀░████▓░▀║ Audioslave is ù a meeting of Rage Against the ║▀░▓████░▀▄
▄▀░████▓░▀║ Machine, minus Zack de la Rocha, with former ║▀░▓████░▀▄
▄▀░████▓░▀║ Soundgarden vocalist Chris Cornell. Though both ║▀░▓████░▀▄
▄▀░████▓░▀║ bands were leading lights of alt-metal in the ║▀░▓████░▀▄
▄▀░████▓░▀║ '90s, the two came from totally separate vantage ║▀░▓████░▀▄
▄▀░████▓░▀║ points: Rage Against the Machine was fearlessly ║▀░▓████░▀▄
▄▀░████▓░▀║ modern, addressing contemporary politics over Tom ║▀░▓████░▀▄
▄▀░████▓░▀║ Morello's hip-hop-influenced guitar, while ║▀░▓████░▀▄
▄▀░████▓░▀║ Soundgarden dredged up '70s metal fueled with the ║▀░▓████░▀▄
▄▀░████▓░▀║ spirit of punk. That these two vantage points ║▀░▓████░▀▄
▄▀░████▓░▀║ don't quite fit shouldn't be a surprise ù there is ║▀░▓████░▀▄
▄▀░████▓░▀║ little common ground between the two, apart that ║▀░▓████░▀▄
▄▀░████▓░▀║ they're refugees from brainy post-metal bands. Of ║▀░▓████░▀▄
▄▀░████▓░▀║ the two camps, Chris Cornell exerts the strongest ║▀░▓████░▀▄
▄▀░████▓░▀║ influence, pushing the Rage Against the Machine ║▀░▓████░▀▄
▄▀░████▓░▀║ boys toward catchier hooks and introspective ║▀░▓████░▀▄
▄▀░████▓░▀║ material. Occasionally, the group winds up with ║▀░▓████░▀▄
▄▀░████▓░▀║ songs that play to the strengths of both camps, ║▀░▓████░▀▄
▄▀░████▓░▀║ like the storming lead single "Cochise." For ║▀░▓████░▀▄
▄▀░████▓░▀║ Cornell fans, it's a relief to hear him unleash ║▀░▓████░▀▄
▄▀░████▓░▀║ like this, given the reserve of his brooding solo ║▀░▓████░▀▄
▄▀░████▓░▀║ debut, but this is hardly a one-man show. The Rage ║▀░▓████░▀▄
▄▀░████▓░▀║ band, led by the intricate stylings of guitarist ║▀░▓████░▀▄
▄▀░████▓░▀║ Tom Morello, gets their chance to shine, including ║▀░▓████░▀▄
▄▀░████▓░▀║ on numbers that are subtler and shadier than the ║▀░▓████░▀▄
▄▀░████▓░▀║ average Rage tune. Which brings up the primary ║▀░▓████░▀▄
▄▀░████▓░▀║ fault on the album: Perhaps Morello, and perhaps ║▀░▓████░▀▄
▄▀░████▓░▀║ the rest of RATM, are technically more gifted ║▀░▓████░▀▄
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▄▀░████▓░▀║ majestic, as powerful, or as cinematic as what ║▀░▓████░▀▄
▄▀░████▓░▀║ Cornell's songs need. His muted yet varied solo ║▀░▓████░▀▄
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▄▀░████▓░▀║ all muscle, no texture or color. Consequently, ║▀░▓████░▀▄
▄▀░████▓░▀║ many of the songs sound like they're just on the ║▀░▓████░▀▄
▄▀░████▓░▀║ verge of achieving liftoff, never quite reaching ║▀░▓████░▀▄
▄▀░████▓░▀║ their potential. There are moments, usually ║▀░▓████░▀▄
▄▀░████▓░▀║ arriving in the first half, where Audioslave ║▀░▓████░▀▄
▄▀░████▓░▀║ suddenly, inexplicably clicks, sounding like a ║▀░▓████░▀▄
▄▀░████▓░▀║ band, not a marketer's grand scheme. Still, these ║▀░▓████░▀▄
▄▀░████▓░▀║ moments are few and far between and it's hard to ║▀░▓████░▀▄
▄▀░████▓░▀║ get through this album as a whole. By the end, ║▀░▓████░▀▄
▄▀░████▓░▀║ it's clear that this pairing was a clever idea, ║▀░▓████░▀▄
▄▀░████▓░▀║ but not an inspired one. ║▀░▓████░▀▄
░ ▀▓████▀ ║ ║▄░████▓▀ ░
▀ ░████▓▄║ ║░▓████░ ▀
▀░████▓╟◄──────────────────────────────────────────────────►╢▓████░▀
▄ ░░▓███╠════════════════════════════════════════════◄QUOTES►╢╣███▓░░ ▄ ▄
░▄▄ ▀▀██████║ ║██████▀▀ ▄▄░
▀░▓███████▄▄║ ║▄▄███████▓░▀
▀░▓███████▄▄║ "The world is full of people whose notion of a ║▄▄███████▓░▀
▀░▓███████▄▄║ satisfactory future is, in fact, a return to the ║▄▄███████▓░▀
▀░▓███████▄▄║ idealised past." ║▄▄███████▓░▀
▀░▓███████▄▄║ ║▄▄███████▓░▀
▀░▓███████▄▄║ -Robertson Davies ║▄▄███████▓░▀
░▓█████▄░░ ▄║ ║▄ ░░▄█████▓░
▀░████▓░░▀ ░║ ║░ ▀░░▓████░▀
░▓███▓▓░ ▄║ ║▄ ░▓▓███▓░
▀▀░███▓░▄▄░║ ║░▄▄░▓███░▀▀
▀ ▄███▀░░║ ║░░▀███▄ ▀
░▄▄ ▀▀██████╟◄──────────────────────────────────────────────────►╢██████▀▀ ▄▄░
▀░▓███████▄▄╠════════════════════════════════════════════════════╣▄▄███████▓░▀
▄▄▀▀██████╟────────────────────────────────────────◄GROUP NEWS►╢██████▀▀ ▄▄░
▄░▓███████▄║ DeBT is in need of affils, ║▄▄███████▓░▀
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░████▓░░▀ ║ pre-release suppliers, bookware ║░ ▀░░▓████░▀
░▓███▓▓░ ║ ║▄ ░▓▓███▓░
▀▀░███▓░▄▄║ suppliers, iNT rippers, shell accounts, ║░▄▄░▓███░▀▀
▀ ▄███▀░║ ║░░▀███▄ ▀
░░▄▄█║ coders, crackers and anything else ║██▄▄░░
▄▄░▀█████║ ║██████▀░▄▀
░▓█████▓░║ that may be of use to us. ║░▓█████▓░
░▓████▓░░║ ║░░▓████▓░
▄▀░████▓░▀║ We are in dire need of a quality dupe db. ║▀░▓████░▀▄
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▀ ░████▓▄║ DeBT is a new group that is dedicated to bringing ║░▓████░ ▀
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▄ ░░▓███║ you the best of the old, new and forgotten in a ║███▓░░ ▄ ▄
▄▄▀▀██████║ ║██████▀▀ ▄▄░
▄░▓███████▄║ variety of sections. If you think you have ║▄▄███████▓░▀
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▀ ▄███▀░║ ║░░▀███▄ ▀
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▄▄░▀█████║ C O N T A C T D e B T ║██████▀░▄▀
░▓█████▓░║ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ║░▓█████▓░
░▓████▓░░║ ║░░▓████▓░
▄▀░████▓░▀║ DeBTisSlaV3rYSTuPiD@GMail.com ║▀░▓████░▀▄
░ ▀▓████▀ ║ ║▄░████▓▀ ░
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▄ ░░▓███╚════════════════════════════════════════════════════╝███▓░░ ▄ ▄
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°²ÛÛÛÛÛ²°ÇÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄRELEASE NOTES¶°²ÛÛÛÛÛ²°
°²ÛÛÛÛ²°°º º°°²ÛÛÛÛ²°
Üß°ÛÛÛÛ²°ßº ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº It's subtle, but telling, that the cover of ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº Audioslave's eponymous debut is designed by Storm ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº Thorgerson, the artist behind Pink Floyd's ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº greatest album sleeves. Thorgerson, along with ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº Roger Dean, epitomized the look of the '70s, the ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº era of supergroups, which is precisely what ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº Audioslave is a meeting of Rage Against the ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº Machine, minus Zack de la Rocha, with former ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº Soundgarden vocalist Chris Cornell. Though both ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº bands were leading lights of alt-metal in the ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº '90s, the two came from totally separate vantage ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº points: Rage Against the Machine was fearlessly ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº modern, addressing contemporary politics over Tom ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº Morello's hip-hop-influenced guitar, while ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº Soundgarden dredged up '70s metal fueled with the ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº spirit of punk. That these two vantage points ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº don't quite fit shouldn't be a surprise there is ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº little common ground between the two, apart that ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº they're refugees from brainy post-metal bands. Of ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº the two camps, Chris Cornell exerts the strongest ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº influence, pushing the Rage Against the Machine ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº boys toward catchier hooks and introspective ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº material. Occasionally, the group winds up with ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº songs that play to the strengths of both camps, ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº like the storming lead single "Cochise." For ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº Cornell fans, it's a relief to hear him unleash ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº like this, given the reserve of his brooding solo ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº debut, but this is hardly a one-man show. The Rage ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº band, led by the intricate stylings of guitarist ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº Tom Morello, gets their chance to shine, including ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº on numbers that are subtler and shadier than the ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº average Rage tune. Which brings up the primary ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº fault on the album: Perhaps Morello, and perhaps ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº the rest of RATM, are technically more gifted ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº than, say, Soundgarden, but they never sound as ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº majestic, as powerful, or as cinematic as what ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº Cornell's songs need. His muted yet varied solo ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº album proved that he needed muscle, but here it's ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº all muscle, no texture or color. Consequently, ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº many of the songs sound like they're just on the ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº verge of achieving liftoff, never quite reaching ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº their potential. There are moments, usually ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº arriving in the first half, where Audioslave ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº suddenly, inexplicably clicks, sounding like a ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº band, not a marketer's grand scheme. Still, these ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº moments are few and far between and it's hard to ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº get through this album as a whole. By the end, ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº it's clear that this pairing was a clever idea, ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº but not an inspired one. ºß°²ÛÛÛÛ°ßÜ
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