Who Really Created Rage?

Rage music is a recent wave in hip-hop, a buzzy, hyper-energetic microgenre of trap that cranks everything to the extreme. Characterized by distorted synths, pulverizing bass, and mosh-pit energy, rage songs feel like adrenaline on wax. It’s loud, chaotic, and emotionally charged, blending the aggressive attitude of punk with the digital gloss of EDM and hyperpop. In rage music, short, looping melodies (often inspired by video game soundtracks or trance hooks) pierce through 808 boom, creating a hypnotic, futuristic vibe. The vocals are usually raw and unfiltered, whether shouted, sung, or sneered, matching the beat’s intensity with equal parts rebellion and catharsis. This is music made to be felt as much as heard. The goal is pure immersion and energy over storytelling. When a rage track drops, you’re not just listening; you’re practically in the moshpit wherever you are.

I saw this video on YouTube of Ye talking about how he invented rage music when he made “Blood on the Leaves” from his Yeezus project. In the comments, people were naming everyone from Trippie Redd to Playboi Carti and even Future as the originators. Personally, I give it to Lil Uzi Vert. I actually have a piece about Uzi’s influence as one of the biggest alternative rap artists that changed the sound of rap today (but when I think about that, it still leads back to Chief Keef. Ultimately, we don’t get Uzi and Carti without Sosa, but he walked so Uzi and Carti could run). A Chief Keef deep dive is coming soon, too!

But back to the topic, I wanted to take a look at rage music from top to bottom and see how it really came about, where the influence comes from, and who really started it, so let’s get into it.

Origins of “Rage” in Hip-Hop Culture

The term “rage” in a hip-hop context didn’t start with these neon-synth anthems. It actually predates the sound. The idea of “raging” (going wild in a crowd) at rap shows has roots going back to the early 2010s. Notably, Kid Cudi introduced his alter ego “Mr. Rager” in 2010, encapsulating a persona of a troubled rockstar figure. This concept made waves and deeply influenced a young Travis Scott, who adopted “rage” as part of his own artistic identity. Travis took Cudi’s moody, rebellious spirit and ran with it, frequently referring to his fans as “ragers” and encouraging rowdy, high-energy shows. By the mid-2010s, “to rage” at a hip-hop concert basically meant to mosh: lose yourself in the raw energy of the music and crowd. We saw the word creep into project titles like Lil Uzi Vert’s Luv Is Rage mixtapes (2015 and 2017) even before “rage” was a defined genre, Uzi was signaling that vibe. In short, the culture of moshing and turning up, borrowed from rock and EDM festivals, was being grafted onto hip-hop. This set the stage for rage music to emerge. The attitude was established, it only needed a signature sound to match.

Early Influences: The Seeds of Rage

Long before rage music was codified, certain artists were laying sonic groundwork by pushing rap into more aggressive, genre-blending territory. One pioneer was Kanye West, particularly during his 2013 album Yeezus. Kanye wasn’t making “rage music” per se, but he brought a “raging energy” to hip-hop that was unprecedented at the time. Tracks like “Blood on the Leaves” start with melancholy Auto-Tune crooning and then explode with snarling horn samples and heavy bass, the kind of dramatic build-and-drop that can send crowds into a frenzy. On the Yeezus tour, songs such as “Black Skinhead” literally turned arenas into what one writer described as a “mosh pit of cyborgs,” thanks to their industrial drums and abrasive synths. Kanye’s willingness to fuse electronic distortion, unconventional beats, and pure anger in his music proved that mainstream rap could get weird and wild. A huge inspiration to the next generation. So, he may have a point after all.

Around the same time, rising Atlanta rapper OG Maco was carving out his own lane of raw aggression. In 2014, Maco’s breakout hit “U Guessed It” became a viral sensation, propelled by his unhinged delivery (practically screaming over a minimal piano loop) and a DIY music video that felt anarchic and unpredictable. Maco embraced the rage concept early on, so much so that he titled his 2016 mixtape The Lord of Rage and a 2017 album Children of the Rage. His music blended the 808s & Heartbreak-style Auto-Tune melodicism with an industrial, abrasive edge, hinting at what was to come. As a rock-influenced kid (he cited bands like Black Sabbath alongside Kid Cudi as influences), OG Maco injected a punk sensibility into trap. While OG Maco’s later projects flew under the radar, in hindsight he was ahead of the curve in merging trap beats with a hardcore attitude. He has to be mentioned as a pioneer.

Another key architect in the mid-2010s was Future, albeit in a behind-the-scenes way. Future’s 2015 track “I Serve the Base,” produced by Metro Boomin, is often cited as an early example of the rage sound. The song’s beat is sinister and slightly off-kilter: eerie synth stabs over droning, overdriven bass that almost distorts the speakers, a formula we’d hear a lot more of in coming years. Future’s delivery on it is aggressive and spaced-out, matching the beat’s menacing atmosphere. Importantly, Future and his producers (Metro, Southside, etc.) were integrating synth melodies into trap in new ways around that time, taking inspiration from Atlanta’s rich trap history and pushing it towards a more experimental, sometimes almost sci-fi sound. This evolution in production, trap drums meeting eerie electronic loops, directly paved the way for rage beats. Young Thug’s early 1017 Thug mixtape beats (by producers like C4 and Dun Deal) also hinted at this direction, with quirky electronic motifs atop trap percussion. Piece by piece, the elements of rage (the synth loops, the heavy 808s, the shouted vocals) were appearing in hip-hop, even if nobody was calling it “rage” yet.

SoundCloud Generation: Emo Emotion Meets All-Out Energy

By the late 2010s, a new crop of artists emerging from SoundCloud brought emotionally charged, high-octane songs to the forefront, setting the stage for rage rap’s breakout. Lil Uzi Vert, for example, burst onto the scene blending melodic emo-rap with turn-up anthems. His Luv Is Rage title said it all: Uzi was equally about heartbreak and headbanging. Songs like “XO Tour Llif3” (2017) had dark, emotional lyrics, but fans at shows would scream along and mosh as if it were a punk song. Uzi’s production often featured synthy leads and fast tempos (“Sauce It Up,” “444+222”), foreshadowing the rage sound to come. He drew on influences like Wiz Khalifa’s early experiments with electronic samples, and by injecting a neon, anime-esque aesthetic into his persona, Uzi helped cultivate the “futuristic” vibe associated with rage music. Even without fully being in the rage subgenre, Uzi was a huge influence, proving that fans loved rap that they could mosh to and that emotional themes could ride over electrifying beats. It’s no coincidence that many rage producers later cited Uzi’s style and Pi’erre Bourne’s beats for Uzi as a foundation.

Parallel to Uzi, Florida’s XXXTentacion was bringing pure catharsis to hip-hop in songs that often barely cracked two minutes. X’s breakout hit “Look at Me!” (recorded in 2015) is basically a study in distortion, from its blown-out bass to X’s harsh, yelled vocals. That track turned rap conventions inside out and invited listeners to let out all their angst. At X’s early shows, the mosh pits were as intense; he’d often stop songs to control wild crowds. XXXTentacion’s emotionally explosive style, oscillating from wrathful screams on one track to tearful serenades on the next, showed a generation of rappers that it was okay to be vulnerable and volatile at the same time. Many of the kids who witnessed X’s raw energy would carry that influence forward. The emo rap movement he was part of (along with peers like Trippie Redd and Juice WRLD) emphasized feelings in lyrics, but X in particular coupled it with unfiltered rage. In hindsight, XXXTentacion’s influence on rage music lies in how he made extreme emotion and aggression feel authentic in hip-hop. He proved that a rap song could make you want to cry and start a riot all at once, a blueprint that rage music runs with.

The “Rage” Sound Takes Shape

By 2018, the pieces fully clicked: Playboi Carti released Die Lit, an album that, in retrospect, laid the groundwork for what we now call rage music. Carti’s style up to then was known as “cloud rap”. Airy, repetitive beats by producer Pi’erre Bourne, and Carti’s playful baby-voice delivery. But on Die Lit, tracks like “R.I.P.” and “Mileage” had an added edge: noisy, repetitious synth loops that bored into your skull while Carti’s ad-libs hit like another instrument. It was trap music, but deconstructed, more about vibe and energy than bars. Carti was breaking rap down to its hypnotic essence, and fans responded in a big way (his shows became frenzies of stage-diving). Many later pointed to Die Lit as the first full project to showcase the rage sound, even if the term “rage” wasn’t popularized yet. Carti himself was just ahead of the curve.

It was Carti’s next album, Whole Lotta Red (released Christmas 2020), that threw a match on the gasoline. Here was a mainstream rapper at the peak of his popularity dropping an album full of distorted synth-punk beats, unconventional song structures, and an unapologetic “rage” aesthetic, from the vampire-inspired album art to Carti’s screamed delivery. Whole Lotta Red initially caught some fans off-guard (it was so different that reactions were split), but within months its reputation grew into that of a cult classic. Songs like “Rockstar Made”, “Stop Breathing”, and “Sky” became anthems for a new generation of rap fans who wanted to headbang as much as nod their head. The album’s producer F1lthy (of the Working on Dying collective) and others crafted beats that were basically trap meets industrial meets video game soundtrack, glitchy arpeggiators, overdriven 808s, and eerie melodies looping on and on. Carti’s Whole Lotta Red ended up defining the rage genre’s template: after it dropped, everyone in the underground seemed to be either imitating its sound or inspired to experiment in that lane. What was once niche had suddenly been blasted into the mainstream. As one publication later noted, much of what came after was either “heavily influenced by or trying to directly replicate” Whole Lotta Red’s style.

At the same time, rapper Trippie Redd was eager to jump on this new wave. Trippie had always been versatile, known first for emo-rap ballads like “Love Scars,” but also capable of spitting aggressive flows. In early 2021, cooped up during the pandemic, Trippie found inspiration in Carti’s fresh sound. He linked with Carti to drop “Miss the Rage”, a song literally named after longing for the rage of live shows during COVID lockdowns. The track’s instrumental (produced by Loesoe) is a now-iconic synth loop that feels like an alarm siren in a dystopian video game, underpinned by booming bass, pure rage fuel. “Miss the Rage” blew up, debuting high on charts, and suddenly gave this subgenre its anthem and namesake (the title itself cemented “rage” as the term). Following its success, Trippie doubled down with his 2021 album Trip at Knight, which was packed with rage-style beats and features. From “MP5” (featuring SoFaygo) to “Holy Smokes,” the project was essentially Trippie’s love letter to the rage sound, and it introduced a lot of his fans to that style. In interviews, Trippie expressed fascination with this energetic new direction, crediting Carti and also his late friends like XXXTentacion for influencing his artistry. By late 2021, you had one of SoundCloud rap’s emo princes now fully converted to rage rap, and that signaled that rage had truly arrived.

New Stars and the 2020s Explosion

With Carti and Trippie lighting the way, a swarm of new artists came rushing in to put their spin on rage music. One notable name is SoFaygo, an Atlanta up-and-comer who had been bubbling on SoundCloud. In late 2020, SoFaygo dropped “Off the Map,” a track that many cite as an early proper rage song. It’s easy to see why: the beat (by producer ​Benny X) has the hallmarks, a trancy, stereo-widened synth lead repeating hypnotically, and thumping bass, while SoFaygo flows with melody and aggression in equal measure. That song gained traction, and soon SoFaygo’s other hits like “Knock Knock” (prod. by Lil Tecca) were viral on TikTok, becoming go-to hype songs for teens. Trippie Redd took notice and featured SoFaygo on “MP5,” further boosting his profile. In many ways, SoFaygo bridged the gap between the SoundCloud emo era and the new rage wave. He had colorful melodic vocals like a 2017 SoundCloud rapper, but on top of beats that were decidedly 2021 in flavor.

Another breakout star of the rage era is Yeat, a rapper who emerged from the underground in 2021 and saw astronomical viral success thanks to TikTok. Yeat’s music took the rage template (loopy synths + heavy 808s) and dunked it in even more bizarre sounds, most famously, his frequent use of bell samples as a signature quirk in the beats. Tracks like “Sorry Bout That” and “Gët Busy” feature church bell and cowbell noises ringing over the chaos, giving his songs an instantly recognizable flavor. Yeat also brought a darker, droning vibe to rage; his beats often feel more menacing or druggy, and he raps in a slurred, almost alien cadence full of invented slang. Clips of his songs blew up on TikTok, generating millions of plays and even catching the attention of Drake and Lil Yachty. By 2022, Yeat had two successful albums (Up 2 Me and 2 Alivë) that showcased his take on rage rap. One that’s chaotic, bass-heavy, and a bit surreal (some say it verges into 100 gecs-style hyperpop realms, given how off-the-wall his sound can get). Yeat’s rise also proved the staying power of rage: even as some critics proclaimed the style might be a short-lived fad, he was pushing it further and topping charts in the process.

It’s worth noting that established superstars have dabbled in the rage sound too, indicating its broader impact. The biggest example is Drake. Always one to hop on a trend early, Drake released “What’s Next” in early 2021, which fans immediately noted had a Whole Lotta Red-style instrumental. Produced by Maneesh and Supah Mario, the track’s beat revolves around a droning, looped synth line and booming trap drums. Swap Drake for Carti and it could pass as a WLR B-side. Sure enough, comparisons were made to Carti’s work. Drake scoring a #1 hit with a rage-influenced song was a sign: this sound had infiltrated the mainstream consciousness. Likewise, artists like Lil Yachty (who collaborated with SoFaygo and Yeat) and Travis Scott incorporated rage production elements into some recent tracks, showing how it’s become part of the modern hip-hop palette.

Overlooked Architects of the Rage Sound

While the headliners of rage music get a lot of shine, it’s important to recognize the underground and behind-the-scenes figures who helped shape the movement. On the production side, names like Pi’erre Bourne, Maaly Raw, and F1lthy were crucial. Pi’erre’s work with Playboi Carti (from Die Lit onward) essentially defined the early rage blueprint with those bright, repetitive synth loops. Maaly Raw crafted beats for Lil Uzi Vert and others that merged rap with electro quirks. And F1lthy, along with his Working on Dying crew, brought an experimental, lo-fi edge from the SoundCloud underground to Carti’s big-budget project, proving that the weird, raw style could scale up.

On the artist side, there’s a whole cohort of SoundCloud rappers around 2019–2021 who ran with the rage sound even before it had a name. SSGKobe, for instance, delivered melodic yet aggressive bangers (check “Calabasas” with $NOT) that fit the rage mold. TyFontaine, out of Internet Money’s camp, dropped projects blending airy R&B vocals with uptempo synth beats, a pretty ragey combination. Florida’s $NOT (while known for more laid-back songs too) hopped on some rage-type instrumentals and even had a hit with Cochise (“Tell Em”) that sported a bubbly video-game lead melody. Cochise himself is another. His style is playful and animated (almost like Busta Rhymes meets anime rapper), and he often uses cartoony synth beats that qualify as rage music. Rising teenagers like Ka$hdami also embraced the style early, rapping confidently over spacey, looping beats. Each of these artists might not be household names, but they’ve contributed to expanding the rage sound’s reach.

Some brought unique twists: KayCyy, a protégé of Kanye West, put out a track called “Okay” that was basically a rage song stripped to its core, just a chiptune-esque synth loop with no drums at all, letting his vocals ride the frenetic melody. It was a risky, experimental take on rage (imagine a rage beat without the 808s, just the nervous energy of the loop remaining). Matt Ox, the young Philly rapper who went viral as a kid, re-emerged with more experimental music and has a song “Live It Up” that earned him mention as a “rager” as well. And in late 2021, Dallas rapper KanKan dropped an album RR (short for Really Rich, but notably double “R” like Rolls-Royce or rage rap wink wink) that heavily utilized the rage sound. Even within Young Thug’s YSL camp, his artist Yung Kayo put a twist by blending rage with hyperpop and plugg on his 2022 album DFTK, showing how flexible the style can be when fused with other subgenres.

Internationally, the rage wave hasn’t been confined to the U.S. British rapper Lancey Foux is a great example of an overseas artist embracing it. Lancey, who’s been influenced by Playboi Carti’s music and fashion, dropped projects like First Degree (2020) and Live.Evil (2021) that infuse UK hip-hop with rage elements. He spits over aggressive synth loops that wouldn’t sound out of place on a Trippie Redd album, merging them with UK drill or grime flavors in parts. And as rage spreads via the internet, we’re even seeing early adopters in places like Iran, where a Persian rage scene is budding as local rappers combine the style with their own cultural spin. The global hip-hop community has its eyes on rage music, adapting its “loud, distorted, and emotionally explosive” template in creative ways. It’s a testament to how quickly youth movements in music now transcend borders.

Aesthetic and Cultural Impact

Beyond just the sound, rage is a whole vibe. A lifestyle even, for many young fans. In the same way punk rock had mohawks and metal had leather jackets, rage rap comes with its own emerging aesthetics. Visually, it tends to borrow from punk, goth, and anime subcultures. You’ll see album covers with chaotic, scribbled artwork or references to vampirism and angst (Playboi Carti’s vampiric persona, Trippie Redd’s neon-drenched Trip at Knight art). Fashion-wise, artists and fans alike rock a lot of dark clothing, spiky accessories, and streetwear that nods to rock influences. Think of Carti’s face paint and spiked chokers during his WLR era, or Travis Scott’s merchandise featuring heavy-metal-style graphics. Even Kid Cudi’s “Mr. Rager” concept a decade ago painted the rapper as a troubled rockstar, foreshadowing this blend of rap and rock imagery.

Perhaps the biggest cultural shift tied to rage music is how normal mosh pits have become at hip-hop shows. What was once shocking (rap fans forming mosh circles and crashing into each other) is now almost expected if a rage artist is on stage. Travis Scott’s shows set the bar in the mid-2010s, with fans proudly calling themselves ragers and Travis sometimes literally encouraging them to “rage” harder. This energy is thrilling, but it’s also brought controversy, most tragically with the 2021 Astroworld Festival incident, where an out-of-control crowd led to fatalities. That event prompted a lot of discussion about the culture of raging: Where’s the line between fun chaos and dangerous recklessness? Artists have since become a bit more vocal about safety, but the desire to “feel the music physically” remains a huge draw. A well-run rage concert can be almost cathartic: fans release pent-up emotions, screaming lyrics in unison and thrashing around, finding a sense of community in the chaos. It’s a similar release that punk rock provided in the 70s or grunge in the 90s, now happening with Gen-Z rap fans. In an era where teens deal with all kinds of anxieties, from pandemic isolation to social media pressures, rage music offers a space to just let it all out.

Social media has played an outsized role in spreading the rage gospel. TikTok, in particular, turned snippet culture into hit records for rage artists. Snippets of an unreleased Trippie Redd synth loop can go viral on TikTok and build hype months before the official song (as happened with “Miss the Rage”). Yeat’s songs became the backdrop to countless TikTok videos, everything from flexing cars to comedic skits, amplifying their popularity beyond traditional rap audiences. The DIY nature of platforms like SoundCloud and TikTok allowed underground rage tracks to blow up without radio or label push. It feels very much like a movement of the internet generation, thriving on memes, snippets, and virality. Even the term “rage” itself spread partly through online fan communities coining genres and debating what counts or not.

Interestingly, rage music has also influenced adjacent creative realms. In fashion, brands and designers have tapped into the aesthetic; streetwear lines collab with rage artists for capsule collections, and you see punk-inspired looks on rap’s red carpets more often now. In the gaming and streaming world, rage tracks are frequently used in montages or livestream intros to hype up viewers (the gaming community loves high-energy music, and rage fits the bill perfectly). Culturally, it has made hip-hop even more of a chameleon genre. We now regularly see hip-hop that sounds like EDM, or rap songs that could be at home in a rock festival, and it doesn’t feel forced. Rage is a big reason for that, because it blurs those lines effortlessly: is it rap? Is it electronic? Is it rock? It’s all of it and none of it, it’s rage.

The Producers Behind the Rage

While the artists fronted the movement, the producers were the ones building the chaotic, electrifying soundscape that made rage music feel larger than life. A few key names deserve special recognition for shaping the sonic DNA of the genre.

Art Dealer was instrumental in defining the rage sound during Playboi Carti’s Whole Lotta Red era. His production style, distorted synths, haunting loops, and minimalist and pounding drums laid the foundation for many of the most iconic rage tracks. Songs like “M3tamorphosis” carried Art Dealer’s signature futuristic chaos, giving rage music its cold, dystopian edge.

Starboy followed a similar path, helping to push the rage aesthetic even further into glitchy, aggressive territory. His beats often felt like punk rock thrown into a video game, layered with metallic synths and aggressive pacing that fueled the movement’s wildest moments.

Outtatown became a defining presence in the next generation of rage, working closely with Carti’s Opium signees like Ken Carson and Destroy Lonely. His production blended rage’s raw energy with a sleeker, more spaced-out atmosphere, helping to stretch the genre beyond its initial chaos into new, experimental zones.

While not a primary producer, Gab3 deserves a nod for helping to set the early cultural tone. Through his punk-influenced music, fashion, and collaborations, he helped popularize the attitude and aesthetics that rage artists and fans would later fully embrace.

Without these producers behind the boards crafting hypnotic synths, pushing distortion to the limits, and building beats that practically demanded mosh pits. Rage music wouldn’t have been the visceral experience it is today. They helped turn raw emotion into sound, and sound into a full-blown cultural eruption.

The State of Rage Music Today

As of mid-2025, rage music is in an interesting place. On one hand, it’s everywhere: its DNA has seeped into the broader hip-hop landscape. You hear elements of rage in pop-rap hits, in club bangers, and certainly all over the SoundCloud charts. New artists are still emerging monthly trying their hand at this style, ensuring a steady stream of rage tracks for fans. The underground scene continues to innovate. Some are mixing rage with other trends like drill or hyperpop, creating hybrid sounds that push the envelope. The fact that even foreign scenes (like the Persian rap scene) are adopting rage shows its global resonance.

On the other hand, when a wave becomes so ubiquitous, there’s the question of how to keep it fresh. Some critics have called rage beats formulaic, pointing out that many use the same type of preset synths and rhythms. It’s a fair critique; by late 2022, a lot of songs did start to sound interchangeable, and some listeners felt the style might burn out. Artists have responded by evolving: for instance, Playboi Carti’s protégés like Ken Carson and Destroy Lonely (signed to his Opium label) have taken the rage template and added their own spin, whether it’s Ken’s more stripped-back approach or Lonely’s fashion-forward, atmospheric take. Their earlier projects (Project X, No Stylist) hinted at new directions, and now, their latest releases are proving that rage still has legs.

Ken Carson recently dropped More Chaos, a follow-up to A Great Chaos, which debuted at number one on the Billboard 200. The album kept the spirit of rage alive but injected a sharper, darker edge, blending relentless energy with a more calculated sense of melody. Meanwhile, Playboi Carti himself returned with MUSIC, a 30-track monster that not only debuted at number one but also saw every song chart on the Billboard Hot 100, a historic feat. MUSIC showed Carti evolving beyond just rage’s basics, mixing industrial textures, moody beats, and experimental features into a chaotic but ambitious body of work.

At the same time, some veteran voices in the scene are calling for innovation. Trippie Redd recently tweeted that hypertrap and hyperpop had become repetitive, criticizing the endless loops of the same sounds and urging artists to bring more “art” back into the music. His own recent moves, flirting with heavier rock elements, suggest he’s serious about pushing boundaries. Lil Uzi Vert has also danced between hyperpop and rage aesthetics, especially on Pink Tape, showing flashes of experimentation that hint at new hybrids on the horizon. And Eternal Atake 2… well, we don’t have to talk about it.

At any rate, all signs point to the fact that rage isn’t dying but it is mutating. And if it survives, it will be because artists are willing to break their own rules and build new ones.

Importantly, the community around rage music remains strong. The youth who identify with this energetic, no-holds-barred style are as passionate as ever. They swap “rage type beats” on YouTube, share playlist links of the latest bangers, and turn up en masse at festivals like Rolling Loud to support rage-heavy lineups. In a broader cultural sense, rage music’s emphasis on emotion and energy has reinforced a truth about this generation: genre matters less than feeling. A kid might have Juice WRLD, Playboi Carti, and Slipknot all in the same playlist. It’s about the emotional ride, not the category. Rage rap sits comfortably in that mix, scratching the itch for something that’s both viscerally aggressive and oddly ecstatic. It’s music to vent to, to party to, and to bond with others over.

The Legacy Rage is Building

In just a few short years, rage music went from an underground experiment to a mainstay of hip-hop youth culture. It has redefined what rap shows look like, injected new life into producers’ palettes, and given artists a fresh avenue to express intensity. By blending the sonic force of EDM and punk with the swag of trap, rage created a hybrid that continues to captivate listeners who crave excitement. And while it rides the edge of being a “scene” that could fade, it’s clear that elements of rage are here to stay in hip-hop. Even if tomorrow a new trend overtakes it, the impact is already made, artists now know they can be as weird, loud, and passionate as they want, and there’s an audience for it. Rage music tapped into something primal: the need to feel music in your bones, to let it all out, and to share that release with a generation going through intense times. In that sense, rage isn’t just a genre of music. It’s an emotion and an experience. As long as there are kids looking for an outlet and a community, chances are the rage will go on.