Rise Against
Endgame

"...And all you remember when we were young
How we wanted to set the world on fire
Because I still am and I still do..."

This statement from the Rise Against seems almost like a declaration of intentions, almost a warning, explaining to us that you grow, you mature, many things happen that inevitably change you and make you reflect. The fire and flames of the first albums had already died out in 2008 with "Appeal To Reason," an episode often too criticized but nonetheless far from mediocre, and the path set by its predecessor, whether you like it or not, is revisited here.

It is now no longer possible to talk about a fully melodic hardcore album, although the influences continue to be present in its grooves, despite the solutions adopted often winking at typical modern rock.

"Endgame," even though it remains far from the peaks of "Siren Song Of The Counter Culture," still remains a pleasant album, featuring a couple of songs that we are sure will make a killing in a live setting. An even not too hidden reference to the wonderful "A Gentlemen's Coup," undoubtedly the pinnacle of the work, with its hiccuping guitars preparing the ground for a magnificent chorus with tones not very light-hearted but almost apocalyptic.

It's probably these songs along with the singles "Help Is On The Way" and the opener "Architects" (which let's face it, had deluded us just like the previous 7" about a return to certain sounds) and the full-throttle ride "Disparity By Design" Good Riddance last period oriented, that are most appreciated by old fans and myself.

The new solutions do not always produce excellent results, this is the case with "Midnight Hands" which brings along with it hard-rock guitars, and at times may remind you of something from the latest Comeback Kid, resulting not bad, however more of a patchwork than a single song. While the experiment on "Survivor Guilt," which creates an atmosphere of tension before relaxing in line with the choruses, is appreciable in this sense.

"Make it stop (September's Children)" enriched with children's voices and the soft-toned ballad "Wait For Me" are likely the next singles with radio potential, less so the overrated "This is letting go" and the title track "Endgame" that close the work.

The lyrics address current and pressing issues, ranging from natural disasters, Hurricane Katrina and the oil spill in particular, also touching on other topics such as suicide and homosexuality.

What do the new Rise Against lack that the old ones had? There could be many answers. The fact of being on the scene for more than ten years certainly counts, as does the fact that the spirit of curiosity that accompanied the previous albums has diminished over time, but this is partly natural. The line-up changes have done the rest, especially in songwriting (this is the second album with Zach Blair, it's no coincidence that since ATR, the contamination with external musical influences began). And then McIlrath doesn't enchant as he used to, there's a lack of those high notes, of that strained, sometimes choked voice, which added an emotional nature to the lyrics he interpreted. Ultimately, it's hard to do better than in the past, but this consideration of mine is more aimed at exalting what was than at diminishing the present too much.

Despite everything, I still like to see the glass as half full, endorsing "Endgame" while having to admit that even though it remains far from the peaks of the 2003-2006 period, for the average of the genre, it is still a work with its own dignity and appreciable.