Imagine if you will, a happy little Chicago family; punk father, hardcore mother, and big brothers like Pennywise, Braid, and Bad Religion. This is where the little half-breed band Rise Against was born. This halfling is an example of musical evolution at its best, the infusion of some of the best aspects of two contrasting genres. From their dad they received a need to rebel, a social awareness, and a hardcore cutthroat basis for their sound. From their mother, they learned ways to cut out the melodic monotony so common in hardcore bands, and poetic, significant lyricism. Growing up in the late 90’s wasn’t easy for a little band in a big marketplace; luckily for Rise Against, they saw through the current fad of musical negativism and sought to bring a more positive feeling to their music, letting the world know that rebellion and depth don’t have to go hand in hand with despair, and defeating emo’s fault of simple, self-centered blind sadness. Don’t be fooled, however, although emo-ism is kept at a safe level throughout many of the songs, Rise Against have given us a fair number of relationship-centered/fairly tragic songs.
Now, seven years after its creation, Rise Against have released their fourth album, The Sufferer & The Witness. In the time they’ve been together, the band have matured nicely in terms of genuine musical ability and creativity. This, along with the novelty they present in sound and ideas, has earned the band a place at Geffen Records, on the Billboard charts, in the movie Lords of Dogtown, and in the CD collections of a generously growing fan base. Their most recently written album, Siren Song of the Counter Culture (Geffen, 2004), was responsible for three Billboard standing songs. It is a compilation of songs of society and relationships, ranging from nearly pure punk to almost emo, and everything in between. The Sufferer & The Witness follows the same line.
The album’s first single, “Ready to Fall,” is almost depressingly decent. As the band’s first single written and produced under Geffen, it follows the pattern of many of today’s songs singled out as representations of the entire album, and is little more than a tainted and conformed version of what the music was meant to be about. In the case of “Ready to Fall,” it’s one of the most emo, self centered, lyrically immature songs of the album. Even the guitar work is so dull and commonplace that this song could have no place except perhaps on MTV and radio stations that a call themselves “the WAVE.” As a background song on the CD, it is tolerable, almost enjoyable; as the pushed feature, however, it’s just not up to par.
This is a shame, because there are several truly good songs on this album. The crown comes close to the end with “The Good Left Undone,” a piece which successfully uses the band’s talents for both hardcore and melodic form of punk, and shows off the surprising versatility of vocalist Tim McIlrath’s scratchy voice with a mixture of non-grating but forceful screams and softer verses. Just before this song is “Roadside,” a slow, almost experimental piece with beautiful string and female vocal accompaniment. Almost too slow for any kind of general public recognition, it hits the listener like finding a twenty in a comfortable new pair of pants. Songs like “Bricks” and “Chamber the Cartridge” are enough to give us old Pennywise fans nostalgia, and others such as “Injection” and “Prayer of the Refugee” hit hard but leave an impression more simply than having been shaken. Few albums are perfect, however. Rise Against, in The Sufferer & The Witness at least, manage for the most part to maintain a strength in each song which contrast the weaker parts; for example, strong verses to divert attention from a mediocre chorus, excellent guitar work where vocals lack, superior vocals delivering trite lyrics. Because of this, the listener can walk away with a good feeling from any song.
On a whole, The Sufferer & The Witness is strong, hard hitting, and original. With a surprising mix of beauty, rebellion, and a hardcore attitude, it’s bound to make fans proud.
Good Riddance – Thoughts and Prayers
The fire still burns brightly for Good Riddance
It would seem that the current US administration has proven to be fertile fields for political punks. If there is a positive to have come out of the past few years, it is in the form of angry punk rock records. The aptly titled Thoughts and Prayers, the new record by Good Riddance, could very well be the best of them. For many like myself, Good Riddance was the gateway to a world of punk rock socio-political commentary; wrapped in aggressive, melodic hardcore that opened your mind as much as it punched a hole in the wall. 1996’s A Comprehensive Guide to Moderne Rebellion and the really terrific 1998 record Ballads from the Revolution, were eye-opening propositions for a wide-eyed kid. Good Riddance resonated because their songs were hard-hitting commentary that sounded like broken-hearted punk rock songs. They sang intelligently about inequality, human despair, and the sometimes broken system in which we live in. And when their broken-hearted punk rock songs weren’t about society and politics, they were broken-hearted punk rock songs about broken hearts (don’t think there have been love songs as good in the genre as “Jeannie” and “Not With Him”).
Four years since their comeback record, Peace In Our Time, we get the much more furious Thoughts and Prayers. 12 songs of trademark breakneck melodic hardcore that talks about the divisive current political climate without going as far as saying things like “Trump sucks”. But that’s never been the Good Riddance way. Vocalist and chief lyricist Russ Rankin has always found a way to express his anger and disappointment with poise and intelligence- sounding more like a well-read poet than a man yelling on a street corner.
In the track “Don’t Have Time”, he sings about the futility of repeating history to trumpet nationalism; “And those same old fears arise / With eyes too drawn to counteract / The ghost in you comes rushing back / Too caustic to subside / Just what have we done? / We killed a mother’s only son / Just to remain at number one“. And lyrically, much of takes a similar route of well-written stanzas that question a lot of what is going on in the world at the present time. Songs like the opening “Edmund Pettus Bridge” (let’s hope everyone knows the significance of this landmark), replete with Michael Douglas Wall Street sound byte, sings of social inequality but does it with a trace of hope. While songs like “The Great Divide” are an example of melodic hardcore’s finest moments; unrelenting sonic pummeling that is as melodic as it is potent. “Wish You Well” takes cues from Good Riddance’s “softer” tones of catchy choruses and mid-tempo verses; akin to the track “Saccharine” (from 2003’s Bound by Ties of Blood and Affection). Perhaps the best thing about the 12 songs here is that they are all very succinct, potent, with rarely a moment of filler. The album is consistently good, and while it rarely deviates from the Good Riddance sound, it never lacks in the fire and fury we’ve come to expect.
The album itself SOUNDS fantastic, credit again to Bill Stevenson and Jason Livermore at The Blasting Room for their production. The guitars rip at the right levels while the percussion work hits just right. The mixing levels are as close to perfect as you can get without any one element dominating over another- a constant the band have found since 1999’s Operation Phoenix (no surprise, the first of their albums to have been produced at the Blasting Room).
The appeal of Good Riddance has always been two-fold. Firstly, their music has shown steadfast quality, and the albums have found longevity due to the way Rankin and company write their songs. With lyrics referring to and talking about a multitude of humanist issues without having to directly reference them, they remain political, timely, writing music as urgent as it was through the 90s as it is today. That may be a sad indictment of society itself, but it doesn’t take away from their effectiveness and influence. Rankin himself has said that their music may not have changed the world per se, they continue to open eyes and minds. This writer can attest to the latter- and the importance of that can’t be underlined enough. Their early discography spoke to my generation about life, self, and the interconnected reality of the world we live- no matter how hard to try not to believe it. Thoughts and Prayers is a furious, timely, and potent slab of hard-hitting melodic hardcore and shows that the fire clearly still burns as passionately for Good Riddance as it did all those years ago. And perhaps it’ll be what A Comprehensive Guide to Moderne Rebellion and Ballads From the Revolution was to me for a whole new generation.
Hatriot – From Days Unto Darkness
From Days Unto Darkness is a relentless pummeling of thrash metal’s best qualities
When it comes to Bay Area thrash metal, there are two bands that sit atop the mountain forever entwined to its history; Metallica and Exodus. Both bands linked together by Kirk Hammett, both bands crucial to the Bay Area’s most destructive form of music. Exodus may not have their name in lights as Metallica does, but Exodus’ influence cannot be mistaken- and many point to them as being the one true progenitor of Bay Area thrash. Hatriot, a band that was started by Exodus vocalist Steve Souza in 2011, are a real chip off the ol’ block. Surprisingly, it isn’t just musically that Hatriot follows suit from Exodus, its a family thing too. While Steve Souza left Hatriot in 2015, his sons Nick and Cody continue on percussions and guitars with the latter taking on vocal duties once the older Souza returned to Exodus.
Hatriot does more than just follow on the Exodus path; they’ve loudly carved their own slice of the thrash pie. Led by Kosta Varvatakis shredding guitar work and Cody Souza’s blistering (sometimes ominous) vocal work, Hatriot may have found their Fabulous Disaster, ironically, also three albums in.
From Days Unto Darkness is a relentless pummeling of thrash metal’s best qualities; machine gun percussion work (I’m a sucker for some great double bass drums), shredding guitars, soaring solos, and vocals that does the growling well, and the screaming even better. Tracks like “Organic Remains” and the blistering “Carnival of Execution” showcase the band’s ability to craft songs that are equal parts urgency and solid musicianship. Thematically, From Days Unto Darkness covers the usual thrash metal spread; the end times, death, destruction, and humanity’s failing graces- all done with equal breakneck, ear piercing destruction sonically. “World, Flesh & Devil” is perhaps the album’s best outing- a raging beast of a song, that if carnage could be written in music form, this is it incarnate. At 4:26, it is one of the shorter tracks of the release, but much of the album features in at the 6-7 minute mark- a trademark of thrash metal’s desire to not only showcase talent but to do it over extended periods.
What the album lacks perhaps is that one magnum opus of a track. Sure, it’s not easy for any band to write “Master of Puppets”, but From Days Unto Darkness rarely takes a breather. It’s mostly positive, but while Master had at times, slow interludes to let you catch your breath, Hatriot takes absolutely no prisoners- staying true to their thrash metal heritage. If you’re not quite up for it, this album will hammer you into a stupor.
The halcyon days of Bay Area thrash metal may be long resigned to nostalgic documentaries, but Hatriot are not interested in just being a throwback to their roots. From Days Unto Darkness is not for the weak and if this is the sign that thrash metal is alive and kicking, then the future and present are in damn good hands.