Rise Against Albums (5)
What The Critics Say
If ever there was a year to release a political punk album it was 2008, when the U.S. was consumed by the wildest presidential campaign in modern history. It seems like the perfect backdrop for Rise Against to release Appeal to Reason, their third major-label record, and in a way it is -- certainly, the group rages against the moral decay rotting the core of the U.S. on the opening "Collapse (Post-Amerika)," just as they strike out against the slow dumbing down of America on "Re-Education (Of Labor)" and tell Iraqi soldier stories on "Hero of War." The latter showcases the acoustic guitars that helped goose 2006's The Sufferer & the Witness into the Billboard Top Ten but the rest boast the manic rapid-fire hardcore delivery that hearkens back to Rise Against's politically minded forefathers Bad Religion. This balance of plaintive modern folk and carefully traditional protest punk is offset by Rise Against's increasingly strong fondness for heavy, slick production, the kind where the rhythms are too tight and the guitars overdriven and clean, the kind where it sounds more like '80s metal than '80s punk. Rise Against is hardly the only modern punk band to be weighed down by this contradiction -- it's entirely too devoted on chops and gear, Guitar Center punk -- but it stings a little more with them as their ambitions, smarts, and skills are higher than their peers. They seem like they shouldn't have such a beefy, big sound, particularly as it obscures their message, giving the group a weird dichotomy: they are clean, accomplished musicians and sincere, socially conscious rockers but those two halves don't complement each other well, at least not on the well-intentioned Appeal to Reason. ~ Stephen Thomas Erlewine, All Music Guide
'The Sufferer & the Witness'
Release Date 7/3/2006
Tracks 13
Label Dreamworks
See Album Tracklist and Review
What The Critics Say
The Sufferer & the Witness finds Rise Against continuing on the path begun on 2004's well-received Siren Song of the Counter Culture. Their melodic hardcore may still sound more mainstream accessible, but this can hardly be looked at as a bad thing. After all, the band's sincerity and passion emerge very much intact -- their socially conscious approach no less pressing -- and new and old fans alike should take to Sufferer with open arms. With producers Bill Stevenson and Jason Livermore manning the controls this time around, the band's inner grit is aptly drawn out amid all the pit-ready choruses and fist-in-the-air, stirring lyrics. As such, Rise Against continue to muscularly confront political and personal grievances to the tune of swirling guitars, assertive rhythms, and Tim McIlrath's sandpapered vocals. However, "Chamber the Cartridge" doesn't quite open the record with the same acidic bite as past lead tracks, as the chorus is lacking something in its delivery to really hit a nerve. This later happens again in songs like "Under the Knife" and the ferocious-yet-still-slightly-missing "Worth Dying For," but moments like these are, in truth, more the exception than the rule. "Injection" and "Ready to Fall" bring things back into invigorating Rise Against territory early on, while "Bricks" stands out as a vicious blast of old-school hardcore energy and power. This record is basically one shout-along, mosh-worthy song after another, though the guys do throw in some interesting moments outside of continual rushes of pure adrenaline. The excellent "Prayer of the Refugee" jarringly alternates between plaintive guitars and weary singing to an empowered chorus and exploding rhythm section to affectingly address the plight of displaced families of war; the frustrated disconnect distressing a troubled relationship is represented surprisingly well in "The Approaching Curve," with its driving use of spoken word and complementary female backing vocals. Essentially, The Sufferer & the Witness showcases Rise Against maturing within the realms of major-label hardcore revivalism, while still remaining relevant and exciting. So even with the occasional letdown, there's a lot to be said for Rise Against pulling everything off with as much substance and strength as they do the whole way through. ~ Corey Apar, All Music Guide
'Siren Song of the Counter Culture'
Release Date 8/10/2004
Tracks 12
Label Geffen
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What The Critics Say
Rise Against's somewhat sudden major label-ness has slightly diluted their direct assault on melodic hardcore, but the adjustment should only invite more sugar punkers to the Chicago combo's bittersweet party. Rise Against has moved up in the sonic nicety department -- loud rock vet GGGarth produces, and the Andy Wallace mix is a flawless cross section of thick, grit, and slick. But Siren Song of the Counter Culture is simply the band's latest statement, combining their significant yet not unwelcome Bad Religion influence with nods to the rousing choruses of peers like A.F.I. Beyond that grandiose title -- that line could've been lifted from a Crass treatise, for Pete's sake -- Rise Against seem to have diversified their lyrical base. There are still salvos of sharply defined social criticism -- "If we're the flagship of peace and prosperity/We're taking on water and about to f*cking sink," begins the blistering hardcore opener, "State of the Union." But Rise Against also rock on the personal reflection or relationship tip. "Paper Wings" builds a sad story about growing apart around a winning lead guitar lick straight from their Fat Wreck past, while the staggeringly paced "Blood to Blood" is in the bitter first person. "'I don't love you anymore/Is all I remember you telling me." Sometimes Siren Song gets carried away with its own melodic urgency. The multiple layers of guitars and somewhat obvious mixing tweaks in "Tip the Scales" and "Rumors of My Demise Have Been Greatly Exaggerated" lead Rise Against to lose the thread of hardcore volatility that's driven them since the beginning. Still, this is their major-label debut, and a band's gotta eat, so maybe the fuller sound and occasional forays into acoustic guitars and cello overdubs ("Dancing for Rain") are OK. Rise Against has always been pretty sincere in both its politics and commitment to hardcore revivalism, so if Siren Song nods to accessibility, it's only to recruit more kids for the raging. ~ Johnny Loftus, All Music Guide
'Revolutions Per Minute'
Release Date 4/8/2003
Tracks 13
Label Fat Wreck Chords
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What The Critics Say
With clenched fists in the air, boots to the floor, and anger swelling in their chests, the members of Rise Against return with their second album, Revolutions Per Minute. It's a two-pronged attack. From the north blows the fury of their hearts, swept up as they are in their passion for a girl who is "Like the Angel," but love that strong almost inevitably eventually engenders the opposite emotions -- and so it is with Rise. And even as they beg on "Amber Changing" to pretend that tonight will never end, the relationship sours, and even their "Last Chance Blueprint fails to change the emotional landscape, leaving nothing but hatred it its wake, reaching a paroxysm of viciousness on "To the Core," a ferocious, fever-pitched number written and delivered with pure vitriol. If that's the bitter northern wind, bringing with it blizzards of wintry emotions warmed only by the heat of anger boiling in their hearts, the gale from the south comes as no relief. This, to continue the metaphor, is the wind of political change that descended with hurricane force on 9/11 and left all of us, Rise included, reeling in its wake. Across the rest of Revolutions, the bandmembers scan the wasteland around them and see people running for cover, desperate to find a shred of security again. But as "Blood-Red, White & Blue" makes clear, safety is an illusion, and our bomb-laden reply futile. "Would God bless a murder of the innocents?...a war based on pride?...a money-hungry government? No." Desperate for a real leader, we are left with the blind leading the blind, where "every problem is solved with a fight." "Is this the point where we give up?...give in?...turn ourselves in?" they demand to know on "Halfway There." Railing against a government bent on revenge and friends blinded to reality, the band cries out for a revolution with "Black Masks & Gasoline." Like all Revolutions, this is an album filled with anguish -- spiritual, emotional, and political -- a roar against the tide of history washing over us, echoed by the wrenching pain of love lost. The music is as impassioned as the lyrics, rubbing emotions raw and minds numb. ~ Jo-Ann Greene, All Music Guide
'The Unraveling'
Release Date 4/24/2001
Tracks 16
Label Fat Wreck Chords
See Album Tracklist and Review
What The Critics Say
Rise Against's The Unraveling seems to be a bit of a change for Fat Wreck Chords. Oh, it's still punk (surprisingly, it was recorded by Mass Giorgini), it's just a lot more aggressive and not nearly as cheesy as many of the label's acts. This album is not poppy, and there's no juvenile humor; Rise Against is a pretty tough band and The Unraveling shows that aspect. The vocals have a good deal of melody and range, yet can break into screaming at any moment, as many of the tracks show. Songs like "Everchanging" show the possibilities that the Chicago quartet is capable of. The lyrics are mature and thoughtful, dealing with friendships and relationships, religion and memories. Similar comparisons could be made to Whippersnapper and Grey Area, yet there are certain ways The Unraveling stands out on its own, primarily in its use of melody in the vocals. While Whippersnapper's vocals are more metal and Grey Area's punk, Rise Against is melodic hardcore. Showing that they're not too far from their roots in 88 Fingers Louie, the punk energy is pure and unadulterated here. If there were ever an album to help bring back the finger pointing and circle pits, The Unraveling might be a good bet. ~ Kurt Morris, All Music Guide
