The Legacy of Kent McClard: The Unseen Hand Behind Rage Against the Machine
In the chronicles of rock history, certain names reverberate with the intensity of the music itself, clutch figures who spark innovation and define movements. But one such name is not Kent McClard, despite the fact that his inadvertent impact on heavy music in the 90s is as poignant as it is understated.
Known primarily as the owner of Ebullition Records and a dedicated zine publisher, McClard’s journey in the punk and hardcore music scenes is intertwined with the birth of one of the most significant bands of the 1990s; Rage Against the Machine.
Early Life: A Troubled Youth Finds Salvation in Punk
Kent McClard’s early years were marked by turmoil. Growing up in a “broken home” in Goleta, California, he often felt lost and out of place. “I was a troubled kid,” he recalls, reflecting on a youth riddled with confusion and rebellion. It was during these formative years that he discovered hardcore punk, a genre that emerged in the late 1970s as a raw reaction against mainstream music culture. The explosive energy and DIY ethic of punk resonated deeply with McClard, providing him with a newfound sense of purpose and community.
As a teenager, he dove headfirst into the underground scene, organizing what is believed to be one of the first local shows in Goleta and publishing its first fanzine too. This early involvement set the stage for what would become a lifelong commitment to independent music culture, as he embraced the genre’s spirit of rebellion, self-expression, and community, ultimately laying the groundwork for future endeavors.
The Birth of Ebullition Records
By 1990, McClard was ready to take his passion to the next level. Together with Sonia Skindrud, a fellow zine writer, and Brent Stephens, a member of the hardcore band Downcast, he launched Ebullition Records. Skindrud provided the evocative name for the label, while Stephens crafted its logo. Yet it was McClard who steered the label’s direction and operations, building a reputation for releasing what is considered by many to be some of the most essential music in the hardcore punk genre of the era.
The label’s relationship with the influential band Inside Out would prove crucial. Initially slated to be one of Ebullition’s first releases, Inside Out ultimately signed with Revelation Records instead. This move left McClard at a crossroads. The band had created a song titled “Rage Against the Machine,” a concept that had percolated through McClard’s writings in his fanzine No Answers, where he first coined the phrase in a 1989 article. The phrase not only captured the spirit of rebellion in the air at the time but also encapsulated the fiery ethos of a generation demanding change.
The Formative Years of Rage Against the Machine
In 1991, destiny drew together a group of musicians who would change the landscape of rock music forever. After the breakup of Lock Up, guitarist Tom Morello’s search for new bandmates led him to a fateful jam with bassist Tim Commerford and vocalist Zack de la Rocha. The chemistry was undeniable as they melded punk rock’s ferocity with elements of heavy metal and hip-hop, birthing a sound that defied categorization.
As the newly formed band looked for a name, they reached back to the unresolved echoes of McClard’s writings and de la Rocha’s past with Inside Out. Just as they found their footing, the name “Rage Against the Machine” emerged, a moniker steeped in irony and urgency, reflecting both the tumult of the political climate and the band’s own radical stance against authority.
Cultural Impact and Legacy
Rage Against the Machine swiftly took the music world by storm with their self-titled debut album released in 1992. Their audacious mix of ferocious riffs, incendiary lyrics, and an unabashedly political stance resonated with an audience that felt equally disenfranchised. The band’s anthems of rebellion, such as “Killing in the Name” and “Guerrilla Radio,” became rallying cries for a generation disillusioned with the status quo.
By the end of the 1990s, Rage Against the Machine had sold over 16 million records, transcending their origins as a niche hardcore band to become cultural icons representing anti-commercialism and radical politics. Their integration of music and activism forever altered the landscape of rock music, showcasing what can be possible when societal norms are challenged through music.
The Unseen Influence of Kent McClard
While the spotlight shone brightly on Rage Against the Machine, the story of their inception remains a testament to the influence of those like Kent McClard. His tenacity in the DIY punk scene not only fostered a community of like-minded artists but also provided the linguistic backdrop that would ultimately resonate through the lyrics and spirit of one of the most successful heavy acts of the 1990s.
Kent McClard’s journey is a reminder of the unseen threads that weave the fabric of music history. As a zine publisher and record label owner, his contributions are often overshadowed by the artists themselves. Yet, the phrase he coined, the ideas he championed, and the community he helped build laid the groundwork for a movement that would challenge societal structures. In a world where the music industry often prioritizes commercial success over artistic integrity, McClard’s legacy endures as a beacon of the punk spirit, forever urging us on.
One of the bands McClard has championed through his record label is Ampere, an American hardcore punk band from Amherst, Massachusetts known for their short but extremely loud and intense songs and live shows.
Members of Ampere have been involved in the DIY punk scene for years, the most notable being guitarist Will Killingsworth, who played in Orchid and Bucket Full of Teeth. Andy Skelly played in both Wolves and The Last Forty Seconds with Stephen Pierce.
Sinaloa is an American hardcore / emo trio band consisting of bass, drums and guitar from Somerville, Massachusetts formed in 2001.
Ampere completed a tour of Europe with Sinaloa in March 2006 with both bands sharing top billing on their subsequent self titled 33 & a 3rd/45 rpm split record released by McClard on his Ebullition Records label.