It was a lyrical and driven piece of melancholy. McIlrath sang evocatively, pushing his acoustic guitar to the sky. Brash percussion intertwined well with volatile guitar strokes. “Behind Closed Doors” sprang to life as a punk score. “The Approaching Curve” was narrated beautifully, a monologue of unhappiness and smashed resolve. “Prayer And The Refugee” sparked controversy, but it was the song we needed. Well-formed notes and guitar riffs were graciously integrated and the meaning behind it resonated. It was a highlight, a true trademark sound. McIlrath sang with anger spreading through his veins, he sang conveying mistrust and internal pain.
“Injection” was a stab in the light, a song with technicalities and lyrical swagger. Some louder than others, but they all had meaning. Blazing a trail is what Rise Against dreamt of doing, and they did so with intent.ġ3 songs made up the LP.
It did not lapse or seize up either it flew the flag for a band who were on the edge of something special. People rushed forward into the band’s whirlpool of trust and energy, declaring The Sufferer And The Witness as the complete album, a record fortified with evocative traits and justified hope. It made it urgent, real, original, and timely.Īnd hearts and minds connected to the LP. Throughout the album, the songs all came together as one blast of anger. Lead singer Tim McIlrath also sang with newfound vigor, lashing the world with his political leanings and fists of rage. This disc morphed into something massive, colossal in its armory of songs. Punk has always been a mainstay in Rise Against’s makeup, but with The Sufferer And The Witness they implemented newly drafted sounds and melodic importance. In time, though, the band escalated beyond the brashness and found their way into more subtle terrains. Not only did they entice many fans to the party, but they drew out political blood, and created a landmark sound. Yes, they developed many punk discs prior to the landing, and these records were raw and revealing, truly testing the punk scene. 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.Battle-hard and ready for the fight, Rise Against truly grew into a behemoth act when they released their seminal album The Sufferer And The Witness in 2006. 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.
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