This time around, his singing has become much easier to listen to, much radio-friendlier. Tim’s exertions on this record are no exception, no matter how different to the brilliance that occurred on Rise Against’s earlier releases. His combination of clean, harsh and growled vocals fused together exquisitely. What made Revolutions Per Minute and Siren Song so good, and so unique, was Tim McIlrath’s vocal efforts. With this record, Rise Against move slightly away from their original hard-core punk roots, yet nonetheless they syndicate their old style with their new to construct a very efficacious album. Rise Against maintain all of these quality characteristics, and they pass it through onto their fourth studio album, Sufferer and the Witness. But what makes them so much different from the rest from the average Good Charlotte or Fallout Boy? Raw energy, emotion, frantic chord progressions and emphatic singing all compile together to create a successful band. It’s not often you could find a band, even an album that holds a high amount of respect within the music industry under the new label of 'punk' yet Rise Against have done it. In many cases,the new wave of pop-punk is a rather dull, uninspired, mainstream style of music that is rendered abhorrent by many critiques. Through and through, it was a perfect record that showed us a path of light.Review Summary: With 'The Sufferer and the Witness' Rise Against slowly begin to move away from their original hardcore punk label, yet they do it in style. Rise Against did not hold back their energy and commitment on The Sufferer And The Witness. With a meaty chorus and sincerity evolving at every moment, it was the main highlight on a record that oozed greatness. “The Good Left Undone” was a masterclass in punk and riveting lyrical meaning, pushing the boundaries for this forward-thinking band. 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. 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.
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