The members of the renowned super group Audioslave, much like Velvet Revolver, were slightly hesitant about working together when they made their first, self-titled album in 2002. The recording sessions were a feeling out process, in which three former members of Rage Against the Machine united with vocalist Chris Cornell of Soundgarden. As much as I enjoyed the mega-hit singles, Show Me How To Live and Like A Stone, I couldn’t help but feel that once these guys got comfortable playing together, even greater things would ensue. Regretfully, I am forced to report that Audioslave’s sophomore effort doesn’t live up expectations at all.

With all the talent on board, it’s difficult to pinpoint exactly where everything goes so horribly awry. Cornell is a wild card, in that, you never know if he’s going to belt out a tasteful, crooning delivery or something that sounds like a cat being strangled. For the longest time, I’ve always been sitting on the fence when it comes to his style, but here it grates me to no end. The other big X-factor is Tom Morello, who, one minute is laying down a steady, churning rhythm and the next making your eyes water with an ear-splitting guitar solo. Again, you never know who’s going to show up. Tim Commerford’s bass is present, but rarely draws attention to itself. Lastly, drummer Brad Wilk has a few shining moments, but is otherwise invisible. The combined forces of these individuals yields an album that feels tired and directionless, making my fifteen dollars investment seem like a really bad purchase. Don’t fall into the same trap as I did, in believing the group could spit out something spectacular after getting one album under their belts. Still not convinced? Read on.

The noisy opener Your Time Has Come is like an obnoxious, over-zealous baseball fan that you’d give anything just to stuff your fist down his throat. The melancholy of this song literally consumes it, despite some catchy riffs and a strong solo from Morello. The first real sign of trouble, though, comes as Out of Exile rolls in. The airy, classic rock vibe is an absolute bore during the flaccid verses, and only a slight improvement for the chorus. When a band can’t get it done on the title track, the song that’s supposed to represent the collective ideas and energy of the album, trouble can’t be far behind.

Naturally, the band smartens up for the first single, Be Yourself. Measuring equal parts of optimism and pessimism, (“Someone gets excited in the chapel yard/ Catches the bouquet/ Another lays a dozen/ White roses on the grave”) this is Audioslave at their pinnacle. A rousing power-ballad, with a wickedly engaging solo that steamrolls into the dramatic finale. Cornell’s impassioned performance perfectly caps off what this band is capable of when they’re at their best. The country inspired Doesn’t Remind Me, astonishingly chosen as a subsequent single, is a real groaner. The thunderous chorus feels completely out of place with the rest of the otherwise laid back song. Cornell sounds strained on Drown Me Slowly, with an unsightly chorus performance, and Morello’s annoying solo makes matters significantly worse.

The Worm throws a pulsating, groovy guitar hook at the listener, nearly implodes with an irretating solo, and wraps with a bland chorus. End result? Skip. Man or Animal has Wilk beating his kit up like a hired goon, even as the rest of the song is only hovering above water. Morello’s solo again almost wrecks the song, despite it’s brevity. Surprisingly, the album’s highlight doesn’t come until the ninth track, Yesterday To Tomorrow. Aside from a few cheesy lyrical moments, the song is an unqualified triumph. Cornell is in top form, with a smooth, captivating performance. The moody, bass-driven verses are no less enchanting. Full marks for this effort.

The album concludes with a mob of three outright vile songs. Dandelion is a preposterously poppy misfire, even with quality drum fills and scattered moments of pleasing vocal passages. Number One Zero is the band’s attempt to throw a variety of ideas at a wall and hope they stick. The guitar riffs are as entertaining as a Bill Gates press conference. Cornell sounds like he was half asleep when he recorded his vocals. The drums and bass will generate simultaneous snores. The Curse is a featureless, go-nowhere closer. By this point, the band has simply run out of inspiration.

By and large, Audioslave’s second album is as pleasing on the ears as nails on a chalkboard. Take away Be Yourself and Yesterday To Tomorrow, and the rest of the album crumbles into a heap of tepid musicianship and half-baked ideas. Morello proves to be a thrilling guitarist during a handful of the tracks, but at the same time, he can nearly kill off three or four songs with one of his aggravating solos. Cornell is hit or miss, steady or strained, for the entire album. Commerford and Wilk are essentially background filler noise. I’d like nothing more than to see Out of Exile sent straight back from where it came, and hopefully next time, Audioslave can make a more memorable album with their considerable talent.

Recommended: No