Rise Against may not be the quintessential punk band that seamlessly blends into the arena rock scene, yet few of their predecessors can claim to navigate these contrasting realms with the flair and audacity they exhibit in their latest work. After two decades of evolving from their rapid-fire melodic hardcore roots to incorporate massive hooks and polished production, this Chicago-based group’s tenth studio album emerges as a formidable entity. Its grandiosity and fervent indignation are propelled by frontman Tim McIlrath, who adeptly balances influences reminiscent of Strike Anywhere and Creedence clearwater Revival more frequently than one might expect.
Collaborating with producer Catherine Marks—fresh off her Grammy accolades for her contributions to Boygenius’s The Document—and renowned mixer Alan Moulder, they successfully merge raw emotional intensity with high-end production finesse in this album’s soundscape.
McIlrath’s politically charged lyrics find an ideal match within the thunderous sonics of tracks like “Sink Like a Stone,” while “Nod,” which opens the album, channels the urgent tempo reminiscent of their defining track “Prayer of the Refugee” from back in ’06.
Navigating between grandeur and excess is a delicate balance that Rise Against occasionally struggles to maintain; as an example, “I Need It All” leans too heavily on garage rock clichés without offering anything fresh or innovative while “Gold Long Gone,” despite its power ballad aspirations, feels overly polished for its own good.
However, they redeem themselves through standout moments such as “Black Crown.” This collaboration with Andy Hull from Manchester Orchestra serves as a poignant reminder against complacency amid global turmoil while delivering an impressive sonic experience that feels worth every penny.