Breathtaking. The beginning, at least. Because the opening track of "Appeal To Reason" defines the concept of melodic hardcore in the most comprehensive way, standing as a true paradigm of the genre: "Collapse" unfolds through blazing and sudden breaks, stop 'n' go, Graffin-style oozin-aahs, and hints of solos à la "Modern Man". The a cappella intro of the second verse makes its memory, if possible, even more indelible.
But, as you read, it's only the beginning.
The third effort of Rise Against on a major label (following the perhaps too slick "Siren Song Of The Counter Culture" and the more than good "The Sufferer And The Witness"), indeed, is not without shadows and easily lends itself to criticism. But let's proceed in order.
The "appeal to reason" was made and it can be heard: the Chicago combo relegates the hardcore outbursts of their early works to a handful of episodes (the aforementioned "Collapse" and "Kotov Syndrome", truly a good track, almost a heartfelt epitaph in honor of Good Riddance, whose stylistic dictates are more than just an inspiration for Rise Against) to devote themselves to composing more (?) meditated mid-tempo tracks (though not necessarily more meditative), offering us some good moments: a valid example is the single "Re-Education Through Labor", with broad melodic scope though not trivial and appealing to the mainstream, where the personality of the new guitarist Zach Blair is highlighted (nothing transcendental, but he is the author of numerous captivating riffs that break the rhythm of the song well and bind excellently to the rhythmic section's solutions) and the track "From Heads Unworthy" which, for both its arrangement and lyrics, is certainly the best in the album, with McIlrath particularly inspired in his choice of vocal lines.
The unfortunate notes, however, do not go unnoticed, on the contrary: in many parts of the song, there is a lack of musical inspiration, made explicit by the almost constant presence of predictable vocal lines and catchy choruses that seem almost like commercial jingles, aimed at the more insipid sing along ("Savior" and "The Strength To Go On" above all). Even the arrangement is not without flaws: the octave progression opening "Hairline Fracture" doesn't seem like the prelude to a harsh socio-political invective, but the main riff of a hit single by the shabbiest pop-punk bands.
Not to mention the last track. Usually the stylistic-expressive peak of Rise's albums (the mind, of course, runs to the tight rhythms and epic tones à la Bad Religion of "Survive"), this time the last episode is the colorless "Whereabouts Unknown", a ballad with a bland flavor and a trite chord progression. "Hero Of War", finally, is the inevitable acoustic insert. The suspicion that its presence is due to a contractual clause grows stronger (there's an acoustic track in all Geffen releases), also because it is a sappy mess with no head or tail, with McIlrath as an unconvincing strummer.
An honorable mention, instead, to the lyrics. McIlrath reaffirms himself as a talented songwriter, capable of crystallizing desperate fragments of reality in raw and real verses, with an almost hermetic flavor, managing to address topics that are anything but clichéd, capturing honest and never trivial nuances (just look at "Savior").
In summary, "Appeal To Reason" does not fully convince, even while featuring some commendable solutions; a "maybe" that, however, does not detract from the value and merit of a sincere group like Rise Against, the announced heirs (together with AWS and Strung Out) of those pioneers of melodic hardcore who still tread the scene today. Keep it up, guys. Remember that your protecting spirits are the Black Flag.
The only criticism ... is the almost total abandonment of the screamed parts that have always added an extra march to the compositions.
'Appeal to Reason' still manages to fulfill its primary purpose, which is to offer half an hour of entertainment, allowing us to escape from the worries of daily life.
The only problem is that Tim no longer screams like he used to, and this is the major issue with the album.
The album has brilliant moments, but they are too few, and the absence of the screamed parts cannot help but complain about this choice.