Artist: Rise Against
Album: Endgame
Genre: Rock
Label: DGC/Interscope

Rise Against are one of those bands I only visit occasionally – they’re a sort of home comfort, cos no matter what you listen to or how long it’s been, they always sound rather charmingly the same. What you see is what you get and it’s rarely short of fantastic. This is also true of latest release Endgame, a slick, well-paced, and infectious affair, as one has come to expect from the Chicago group. They waste no time in launching straight into a furious bombardment, touching on several topical issues, picking all apart in a brusque, immediate onslaught.

Rise Against’s defiant calls to arms are refreshing in their innate positivity. For all the badness they may discuss or take inspiration from, the music is so energetic and brash and the words so arresting it’s difficult not to be swept away. In this sense, Architects, a stunning opener, is notable for grim cries like “Remember when you were young, and wanted to set the world on fire?” Everything is authoritative and commanding, instantly throwing down a gauntlet and inviting all to throw themselves in headfirst.

“Help Is On the Way” sets a stirring message to a spunky beat, a persistent bass line doing the groundwork for the poignant lyrics. The breakdown later on is almost wounded, a myriad of emotions colliding spectacularly with the abrasive instrumentation. “Satellite” takes things down a notch, allowing for a quick breather amidst the hare-raising bombast of the first half. Yet, even with the gentler tones, there’s always a tangible sense of urgency, kept in force by Tim McIlrath’s powerful vocals. His voice is Rise Against’s most lethal weapon – no matter how jaded you may get by the [admittedly a tad predictable] guitars, his performances are always so earnest and uncompromising they inject the necessary punch to grab your attention.

“Midnight Hands” has a slightly jazzier pulse to it. It’s intriguing to hear the band take a less full-on approach, tempering their usual racing speeds with something more measured and thoughtful. Yet, this twisting approach actually lends the song added appeal, the fiery lyrics getting under your skin and spurring you onward. “Survivor Guilt” is raging, and wants you to know about it. After a tense spoken overture discussing the destruction of famous societies, it hits breakneck and doesn’t relent. It features soaring choruses that walk the fine line between excessive and affecting but happily manage to land more on the latter side. It helps that for every breather the band afford the listener, they re-engage a moment later with fury incarnate, as defined by crushing guitars.

“Wait For Me” is a lovely, kaleidoscopic number, feeling somehow more alive than most of the other songs. There’s a plaintive tinge to McIlrath’s voice that seems to make the sentiment more genuine, and it’s a treat to listen to. From there on in, the songs become a tad standard – as always, difficult to fault overall, but when one’s already breathless from the opening half individuality becomes clouded. “This Is Letting Go” is tremendous, and worthy of note however – as is the delicious bass line that kickstarts “Endgame,” the title song and formidable conclusion to the record. When the song plays out altogether it almost feels abrupt, as though some kind of work out has just come to a sharp ending – indeed, this could be one of the band’s great assets. They almost force you to tune in and engage with what they do, coming out either enraged or disaffected but never ambiguous. In short, there’s no point in only going half-assed.

Endgame is another nail-biting, electrifying release filled with everything one has come to expect from and admire about Rise Against – their endless energy, creativity, and mindful lyrics all clearly evident throughout a wonderful record. It’s brimming with fervor and activism and demands that you respond to it in equal measure. Sure, you’ve probably had enough for one sitting after eight songs or so, and in a way everything becomes jumbled together in one pulsating melee of chaos and distortion, but it’s a brace and another masterful notch on the calendar for an ever-exciting band.

Score: 8/10
Review written by: Grace Duffy

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James Shotwell

James Shotwell is the founder of Under The Gun Review. He loves writing about music and movies almost as much as he loves his two fat cats. He's also the co-founder of Antique Records and the Marketing Coordinator for Haulix. You should probably follow him on Twitter.

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