Despite sales of nearly 500,000 copies, critics were divided in their opinions of the album. It was the band's highest charting album on the Billboard 200, where it peaked at number three. In 2008, Rise Against released its fifth studio album, Appeal to Reason. Most reviewers liked the politically driven lyrics, although some felt the lyrics were either lacking or melodramatic. Critical appraisal was mainly positive, with reviewers complimenting the music, and Rise Against's ability to integrate its hardcore punk roots with a mainstream rock sound. All three songs appeared on various Billboard charts, in particular "Help Is on the Way", which became Rise Against's only song to reach the Billboard Hot 100. Three songs from Endgame were released as singles: " Help Is on the Way", " Make It Stop (September's Children)", and " Satellite". The album also charted highly in several other countries such as Canada, where it became Rise Against's second consecutive album to reach number one on the Canadian Albums Chart.
It holds the record for the band's highest position on the chart. Endgame debuted at number two on the Billboard 200, with 85,000 copies sold in its first week. Through and through, it was a perfect record that showed us a path of light.After a lengthy tour in support of Appeal to Reason, Rise Against began recording Endgame in September 2010, with producers Bill Stevenson and Jason Livermore. 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.