cover or album rise against the sufferer and the witness

It’s difficult to fault any major part of the album. Very few of the other tracks have quite this method of engaging the listener, but they all do so in their own very effective way. Track one, 'Chamber the Cartridge', makes this album instantly recognisable, giving a mysterious feel as it slowly builds, before pouncing like a ravenous wolf. As a result, 'The Sufferer and the Witness' is much better over its entirety and doesn’t suffer from being on a major label. 'The Sufferer and the Witness', their fourth album, is dynamic throughout and a touch darker than their previous offering, 'Siren Song of the Counter Culture', which, released in 2005, moved to the melodic more frequently. Originally on Fat Wreck, the band are now on the eclectic Geffen Records, which hosts the popular Nelly Furtado and Blink-182. If the inspiration is to come, it would come via Rise Against.įormed in 1999, Rise Against made an immediate impact and have now progressed their sound to the next level. This is quite clearly the best album I’ve failed to get my hands on shortly after release and makes me wonder why I don’t engage myself more quickly. If I’d have picked this up in ten years, the sentiments would have been just as strong. Time passes, the mind forgets and here we are, moving towards the mid-point of 2007 and I’ve only just managed to get my hands on last year’s 'The Sufferer and the Witness'. 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.Upon hearing the acoustic version of Rise Against’s 'Everchanging' on the 2006 Warped Tour compilation, my mind was set on getting to know the Chicago quartet. Essentially, The Sufferer & the Witness showcases Rise Against maturing within the realms of major-label hardcore revivalism, while still remaining relevant and exciting. 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. 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. '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 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. 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. 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. 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. 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. Their melodic hardcore may still sound more mainstream accessible, but this can hardly be looked at as a bad thing. The Sufferer & the Witness finds Rise Against continuing on the path begun on 2004's well-received Siren Song of the Counter Culture.

Cover or album rise against the sufferer and the witness