Produced by Bill Stevenson, ‘Endgame’ is Rise Against’s sixth studio album, marking how much they developed as recording artists, songwriters and veterans from their aggressive outset. Impressively, they have retained their signature theme of expressing the negativity of the world through sentimental songs that are treasured by many thousands of fans all over the world. Rise Against have never been conventional, but it is their individuality and high standards that have made them so well-known.
The Chicago quartet have enjoyed mainstream success, after being considerably underground, since their third album, ‘Siren Song of the Counter Culture’. With politically enforced, activist driven and animal rights protesting lyrics and three straight edge members (excluding drummer Brandon Barnes), they are somewhat unusual components of the punk puzzle; a world overflowing with drugs, booze and girls. After being formed over a decade ago, fans were anticipating a variation in sound from Rise Against, as well as the inspirational hits the bands have brought before.
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| The Album Artwork of 'Endgame' |
With influences from punk rock heavyweights such as Face To Face and Down By Law, Rise Against certainly don’t make it easy for themselves! ‘Endgame’ is boasts some of the band’s best work to date, opening with a melodic punk riff in first track ‘Architects’, in which, you can really feel the heavier sound of Rise Against. The ferocious backing drums and thunderous chorus, ‘Do you still believe in all the things you stood by before?’. Along with a powerful guitar solo, you can practically feel the mosh pits opening up.
‘Help Is On The Way’, which was released as a single on 25th January, peaking at number 3 on both the US Billboard Rock Songs and Alternative Songs Charts, is a catchy, crunchy track, portraying the band’s cluster of influences. The speedy intro is reminiscent of The Red Jumpsuit Apparatus’ ‘Face Down’, but the addition of Tim Mcllarth’s unique vocal abilities tinged with anger and frustration allow the band to almost adopt theatrical elements with the dramatic drive of their proceedings. A welcomed element is the use of light and shade in the track, illustrating Mcllrath’s talent for both singing and screaming beautifully. The constant change in speed keeps the listener attentive and interested, and gives long-standing fans something to clutch to.
Third track ‘Make It Stop (September’s Children’) retains Rise Against’s established dramatic backbone to create a ready-made head-banging workout. Think 30 Seconds To Mars meets Green Day’s Boulevard of Broken Dreams.’ War-inspired gang vocals, mammoth musical muscle and a superb clutter of instruments, tempos and arena-filling swagger help reiterate Rise Against’s serious message about the evils of the world. A breakdown of the song towards the end is almost identical to Green Day’s ‘Holiday’, but with Mcllrath reading the names of fallen soldiers in their early teenage years, the solemn backbone of the band’s music is fantastically emphasised.
‘Disparity By Design’; drenched in punk-edge, truly delivers the concept of Rise Against’s music with frantic flourishing from start to finish. ‘Satellite’ conveys the band throwing what they know to the wind, with a gentle introduction and a chorus that not only ties the song together, but also combines band and fan, ‘We won’t back down, we won’t run and hide!’ Rise Against have the compelling ability to compose solemn music without ballad after ballad and emo or self-orientated lyrics, ‘We are the orphans of the American Dream’, which must be applauded.
Sixth track ‘Midnight Hands’, along with ‘Survivor Guilt’ and ‘Broken Mirrors’ depict work peppered with funk and heart, which is a rare mixture to find in punk rock tracks. ‘Wait For Me’ appears to be the expected ballad of the album, and it does not disappoint, although it is by no means superior to ‘Hero of War’ from previous album ‘Appeal To Reason’, which is a stunning tear-jerker. However, it stretches the sheer diversity and overall verve of Rise Against, boosting their appeal to new fans, allowing them to clamber further up the mainstream ladder.
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| Rise Against |
The speed and skill communicated through ‘A Gentlemen’s Coup’ and its start/stop framework expresses the intended anger, ‘We storm the gates, raise the flags...’. The capabilities of Rise Against appear infinite thanks to the vast variety found throughout ‘Endgame’ and the split second of acapella vocals from Mcllrath propels his gift into the well-deserved spotlight. ‘This Is Letting Go’, as track eleven on a twelve-track compliation, should be the clear waker-uper, really showing what the band can do; impelling the listener into the band’s solid graft admirably. Final and title track ‘Endgame’ is a bass filled finale, exploding with a beautifully broadcast, stunningly-deafening melody. Along with bonus track ‘Lanterns’ a reasonably chilled song, ‘Endgame’ is rounded off wonderfully.
Hitting the listener like a speeding train from beginning to end, ‘Endgame’ marks the development of Rise Against as musicians and their determination to use their music for good and making political messages accessible and seamlessly ear-splitting.
5/5
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