“With all their technology they can feel no more”
Have you ever watched the movie “Warm Bodies”? If you haven’t then spoilers!!! First because I’ll be making reference to the introductory part of that movie. And also spoilers if you thought this was going to be a movie review! Sorry to disappoint. So yeah there’s a character on there, can’t remember his name but I remember with great lucidity that he was a zombie. And Zombies don’t have names last time I checked. And you know how Zombies walk, like they have nothing to live for (unintentional pun). Yeah, this very dead fellow was in one of those zombie strolls in an airport lounge. The other zombies also trudge along aimlessly staring into blank space, trapped in their own zombie thoughts. No conversation with other zombies, no glances exchanged between strangers and no one is checking out anyone. And our zombie friend reminisces the days before the zombie apocalypse when everyone was so connected. A child shares a light moment with her very dull father.A stern ticket lady tolerates being mouthed off by one of those entitled passengers whose probably flying economy class. Then the zombie notes the strangest thing, that apart from these strained conversations everyone is hooked to one device or another. An iPad, a mobile phone or a mp3 player. And it strikes him that maybe a world ravaged by a zombie apocalypse isn’t as bad as he thought. Everyone was already cold and distant to begin with!!! And that is the premise of “Sons of Robots”. Rash’s fifth single is based on the state of the world today where everyone is a slave to one device or another, cold and distant. Zombies in the truest sense of the word.
This song is a love of mine for many reasons. First, hats off for Sebastian Firlardi. I am moved to tears by that bass intro. It’s a bass line that boasts and is so fucking attractive. If it was a man it would have a beard and would own one of those polished monstrosities like the Harley Davidsons that only appear at the Concourse d’Elegance. The bass does well to lay the ground and introduce every piece of instrument that characterizes the song. Every piece falls in line systematically in a sequence from the bass, to the rhythm, to the lead, to the drums and finally the vocals. Rash has since switched bassists with the departure of Sebastian Filardi. Jona Mwendwa the new bassist rocks one of the biggest bass guitars I’ve seen with my own two eyes with a couple of tattoos to go. Haven’t heard any material that he’s worked on but so far so good.
Baby Metal and Life Choices
The best part about Rash songs are usually Max’s solo. Fuck that dude is inspired by the fuckin gods man. I don’t know how he does that. It is possible he has been doing these solos since he was three with one of those brightly colored guitars with buttons instead of strings. And that toddler version of Max, barely able to tie his own shoes back then serenading a small crowd of toddlers at the playpen in the kindergarten. And all those riffs he wrote were stacked up in a pile and stowed away in the attic by his Abuela. Now in his twenties he just fishes his favorite riffs from that list and serenades an older bunch of kids who are obviously too old for the playpen by now. I had one of those small colorful guitars. As a side note, I probably should have given it much more interest. I’d be in a band now instead of being here every once a while throttling you with long, uninteresting song reviews and struggling to learn Spanish. The guitar solo on this song starts off a bit wobbly. Max struggles to rein it in but once he manages to do that he just ploughs on in a seemingly mindless soliloquy on his own terms and in perhaps the strongest fashion more than in any song he has previously done.
Another great part about this song is the way it ends. And the bass is crucial in the way it takes the lead to signal everyone else it’s time to close shop. And then that bass solo follows in and Abedi’s rhythm following in suit.
Sam Warui’s Evil Twin?
Sam Warui is still on vocals last time I checked. He has created this signature vocal technique that has made Rash so recognizable. Since the day I first heard of these guys, Sam Warui has been a god by many proportions. Darkness and Witchcraft was a testament to that and we wondered for a long time whether it was possible for someone to sing like that. And Msafiri was a song that proved in many ways that he was born into the role. He took that frontman role and made it his own. On stage, he gets a bit eccentric and will slip off into a random jig mid beat. There’s a virtuosity to the way takes off and pulls back and his snarls are measured but never off the top. He did okay in Beer Party and Let it Be Rock, but we knew more would come. But that is not the same Sam Warui we’re used to. He’s been switched for a bot that keeps malfunctioning when hitting the high notes. In fact, I wouldn’t completely rule out the possibility of alien abduction or an evil doppleganger because the vocals on here at times make for very cringe worthy moments. And my studies have proved to me that perhaps there is truth to the theory that Sam Warui is better at doing fast songs like “Msafiri” and “Darkness and Witchcraft” or “Beer party” if you fancied that song. Granted, Sons of Robots is catchy when done live. In fact, it is one I wait for with bated breath when Rash is doing their normal set list. But the final recorded product makes you want to drain that beer bottle real quick, and run home and hug your Abuela. Because this part of the song just falls short. But it is still catchy in a falling short kind of way.
Overall this is song takes third place on my all time favourite Rash songs largely due to its catchiness, its intuitive lyrics and themes and an almost perfect display of instrumental technique.
If you liked this song and would like to watch it live as I have, you can catch Rash this Saturday at Daas Restaurant in Westlands. They’ll be performing alongside Parking Lot Grass and local Nu-Metal bad guys SNVL. See you then.