Search Results for "Rise Against"

Contest: Win a signed CD and vinyl from Rise Against

Rise Against are gearing up to release their album “Long Forgotten Songs: B-Sides and Covers (2000 – 2013)” on September 10, and we’ve teamed up with the band to give away a signed copy of the record on CD and vinyl.

All you have to do is click here (or scroll down) and fill out the form, plus you can check out the track list and watch the band talk about the album. You can also head here to pre-order the album.

We’ll notify the winner on September 10.



Rise Against stream “Sight Unseen” off upcoming “Long Forgotten Songs” album

Rise Against are streaming another song off their upcoming release, “Long Forgotten Songs: B-Sides and Covers (2000 – 2013).”

This song, “Sight Unseen,” was recorded in January 2008 and previously released on a split 7” with Anti-Flag.  Fans of older Rise Against will definitely dig it.  Give it a listen below.

“Long Forgotten Songs” is due out Sept. 10th.  Pre-order it here.

Rise Against’s most recent studio album, Endgame, was released in March 2011 on Interscope Records. Earlier this year they put out a 10th anniversary reissue of their second album “Revolutions Per Minute” on Fat Wreck Chords.



Rise Against streaming cover of Nirvana’s “Sliver”

Rise Against are streaming another song off their upcoming release, “Long Forgotten Songs: B-Sides and Covers (2000 – 2013).”

This song, “Sliver,” is one of 11 covers on the release, due out Sept. 10th. Check out the stream here, and pre-order “Long Forgotten Songs…” here.

You can also check out their cover of Bruce Springsteen’s “The Ghost of Tom Joad” here.

Rise Against’s most recent studio album, Endgame, was released in March 2011 on Interscope Records. Earlier this year they put out a 10th anniversary reissue of their second album “Revolutions Per Minute” on Fat Wreck Chords.



Stream “The Ghost Of Tom Joad” from upcoming Rise Against B-sides album “Long Forgotten Songs”

Rise Against are streaming a cover of Bruce Springsteen’s “The Ghost of Tom Joad” right here.  The song, which will appear on the band’s upcoming B-sides album “Long Forgotten Songs”, was recorded live at the Honda Center in Anaheim, California with the help of guests MC5’s Wayne Kramer, Gaslight Anthem frontman Brian Fallon and Rage Against the Machine guitarist Tom Morello.

“Long Forgotten Songs” is due out on September 10, 2013 and you can pre-order it here.

Rise Against’s most recent studio album, Endgame, was released in March 2011 on Interscope Records. Earlier this year they put out a 10th anniversary reissue of their second album “Revolutions Per Minute” on Fat Wreck Chords.



Rise Against releases track list and pre-orders for upcoming B-Sides album “Long Forgotten Songs”

Rise Against have announced the track list for their upcoming b-sides/covers album “Long Forgotten Songs: b-sides and covers 2000 – 2013″.  Check it out here along with a video of the band discussing the motivation behind the release.

“Long Forgotten Songs” is due out on September 10, 2013 and you can pre-order it here.

Rise Against’s most recent studio album, Endgame, was released in March 2011 on Interscope Records. Earlier this year they put out a 10th anniversary reissue of their second album “Revolutions Per Minute” on Fat Wreck Chords.



Rise Against announce “Long Forgotten Songs: B-sides and Covers 2000 – 2013”

Rise Against have announced that they will release a b-sides/covers album entitled “Long Forgotten Songs: b-sides and covers 2000 – 2013” on September 10, 2013.

You watch a trailer for the album here.

Rise Against’s most recent studio album, Endgame, was released in March 2011 on Interscope Records. Earlier this year they put out a 10th anniversary reissue of their second album “Revolutions Per Minute” on Fat Wreck Chords. Pre-orders will be available on July 30th.



Sublime With Rome to tour Europe in November

After they go on tour with Pennywise or Descendents (or both), Sublime With Rome will be embarking on a short tour of Europe in November. Support acts, on selected dates, include Rise AgainstParkway Drive, Enter Shikari and Billy Talent. All the dates can be found here.

Sublime With Rome recently announced that they are expected to begin work on a new album towards the end of this year. They last released Yours Truly in July 2011 on Fueled By Ramen, which would be their only release with drummer Bud Gaugh, who left the band five months after its release.



Amnesia Rockfest 2013: The Good, the Bad, and the Truly Ugly

There was confusion and pain and aggravation… and scandal and frustration and appalling grossness. But there was frenzied energy and sonic euphoria and bone rattling vibrations. It was beautiful, touching, stirring, inspiring and overwhelming. Yes, there were truly memorable moments amidst the mayhem. The Amnesia Rockfest that took place last weekend on the waterfront of the tiny nine hundred soul village of Montebello, in between Montreal and Ottawa, was all of those things and more, making it both a true gritty DIY punk music festival, and an aberration of entertainment organization at the same time.

So where to start? I crawled out of my tent early on the first day of the festival to find the whole village overrun by punkers, metal heads, and college kids; more than 100 000 thousand of them and, as is wont, many with a beer in hand at seven in the morning. Villagers all over town had opted to welcome tenants and had parcelled out their prime suburban land to maximize the number of tents and RVs they could accommodate all over their humble abodes. If it weren’t for the music blaring incessantly from cheap car stereos, the abundance of red haired girls in short shorts, and the sweet stench of beer permeating the air of the whole neighbourhood, one might have mistaken the scene for a refugee camp.

And in that image—the refugee camp—I had unknowingly found the visual metaphor that would define the festival grounds for the next 48 hours. My first hunch that something was off with the Rockfest logistics came early enough on that first day as I strolled leisurely through the backstage entrance, grateful for my press/photographer pass, and made my way to the front of the main stage where in less than an hour tens of thousands of revelers would pour in to catch Mad Caddies and Less Than Jake who had the thankless task of getting the show on the road. The gates opened on time at 11AM, but what should have been a tidal wave of screaming fans rushing in turned out to be a slow trickle of smiling (they were the lucky ones) rockers trotting towards the stage. By the time Mad Caddies’ ska beats descended on the muddy field, perhaps one or two thousand people had made it in. An hour and a half later, when Less Than Jake took the stage and ska-ed up the place some more, 80% of ticket holders were still waiting in line to exchange the ticket they bought months ago for a bracelet, an ordeal that lasted for most over two hours and a half, for many somewhere around four hours, and even longer for a few providence-deprived punks.

When it was the Dropkick Murphys turn to attack the main stage at 5PM, thank god there was an endless sea of grateful punkers in front of them, and it was with their rowdy and rollicking brand of Celtic punk and infectious stage energy that the festival really started moving. Classics ‘Shipping Up to Boston’ and ‘State of Massachusetts’ were heard, and ‘Rose Tattoo’ as well from their latest record. It was a memorable gig with not a dull moment. In all, there were a hundred and fifty bands spread over five different stages and the line-up for the main stage alone made the Rockfest a worthy rival to the best punk festivals in North America, so you’ll forgive me if I spare you the setlist of every single show I attended and focus on some of the highlights, as decided by me, which means I’ll not mention Marilyn Manson in this piece again. He was there is all I’ll say.

Soon after the Dropkick Murphys, Rancid took to the stage for a power-hour of their greatest hits, including ‘Radio,’ ‘Nihilism,’ ‘Maxwell Murders,’ and ‘Ruby Soho,’  mainly taken from their earlier opus ‘Let’s Go’ and ‘And Out Come the Wolves,’ delivered with all the gusto and rambunctiousness these guys are known for. I hadn’t enjoyed them live in fifteen years, and though Tim Armstrong seemed, naturally, a bit older, it certainly didn’t show through his wild demeanor and crazy antics on the stage, the way it did, somewhat, with Dexter and Noodle and the rest of The Offspring crew, who delivered right after The Deftones a professional if tame and subdued—granted I had great expectations—performance to bring the Friday night to a close.

It was around dusk, perhaps during Social Distortion’s superb set (talk about a band that belongs on a stage right?), that the festival grounds began metaphorically bursting at the seams, and from whence came the great dichotomy between the truly awe-inspiring acts on the stage and the grotesquely awful scenes on the ground. It was also then that a certain anthropological distinction appeared between two kinds of attendees, i.e. the ‘hardcore’ punks and metalheads who thrive on blood, sweat, mud, and piss, and who won’t need for trivial things like toilets, food, or, for that matter, drinking water, so long as they can mosh to the sound of aggressive music and smuggle beer inside the premises (these dudes were having a great fucking time), and the mellower ‘good music, good booze, good friends’ attendees, who, if you asked them, would prefer not to suffer from dehydration because of the total absence of drinking water on the site, would prefer not to have to walk through a swamp of urine to use a portable toilet overflowing with fecal matter (and maybe do without the e-coli, if possible), would prefer not to have to stand in line an hour and a half for a hot dog, and would prefer not to have to walk ten miles at three in the morning because the last shuttle buses for the campgrounds were full and not coming back for them. I believe this distinction is at the core of the wildly different accounts of the festival that appeared in print and social media the past couple of days.

The next morning, the whole place had an aura of brokenness and defeat. Getting in wasn’t a problem, but then there wasn’t any music playing as the main stage, pulsing with staffers, lay in a state of disrepair. There’s a certain oddness to a music festival when no music is playing, as you end up noticing things around you rather than what’s on stage: punks walking with crutches, headbangers with their arm in a sling, boyfriends massaging girlfriends’ ankles under the shade of a tree (the one and only tree inside the gates, of course), trashcans overflowing with plastic bottles and food scraps, with pyramidal heaps and mounds of garbage besides them. Without the infusion of music, the place had the look, smell, and feel of an open air dumping ground. None of it would have mattered if only they’d gotten a show going.

Lagwagon, slanted for a noon performance on the main stage, had been rescheduled at a different time on a different stage, to their great relief one might add, as it afforded them a few extra hours of shuteye (some of them had had a rough night). The same situation befell the Mighty Mighty Bosstones, who ended up breaking the ice a bit later than planned on a different stage with a drive and vigor that was simply contagious. After the Bosstones’ day-salvaging performance, and once the Transplants finally manned the main stage and college girls could finally get their dose of Travis Barker, all was forgotten and in the mosh pits the atmosphere was absolutely berserk.

The intensity never let up from that moment on, and after Transplants finished their set, which included a couple of new songs from their upcoming album, Pennywise took the stage and it was nice to see Jim Lindberg in front singing ‘Fuck Authority’ like it was 2002. Of course you can always count on Fletcher and Jim to get the mosh pits riled up, and it was during Pennywise’s set that the momentum in the pits reached a crescendo of motion, swell, and pulse; very exciting stuff indeed! After that the main stage belonged to headbangers for a couple of hours with Anthrax and Lamb of God on the bill, so the punks moved in throngs towards one of the smaller stages for the much anticipated Lagwagon set. And what a set it was! ‘Island of Shame,’ ‘Violin,’ ‘Lazy,’ ‘Coffee and Cigarettes,’ all delivered fast and loud to an overflowing crowd of moshers who could scarcely contain their joy. The smaller stage had better, crisper sound than the main stage and the Lagwagon boys seemed perfectly at home on it. It was one of the better moments of the festival, especially touching when they got going on NUFAN’s ‘Exit’ as a tribute to late Tony Sly, and it’s a shame that many fans missed it on account of the confusion over the venue and time changes.

Though Rise Against was the official headlining band awaited by all festival-goers, the band most anticipated by other punk bands playing the festival was clearly Black Flag (with Keith Morris), playing late in the second day on the same stage as Lagwagon. During their frenetic performance which included mostly well-known tracks like ‘Six Pack’ and ‘Wasted’ both sides of the stage featured a who’s who of the current punk scene. Finally, Rise Against appeared front and center at 1h30AM and delivered a well-balanced set, mixing the old and the new in just measure, which resulted in quite an irreproachable hour and a half of music from the punk heavyweights. It was most definitely worth hanging around for.

Unfortunately this overview of the Rockfest would not be complete if I failed to mention the truly shameful ‘pay to play’ scheme that was reported in the press in the days leading to the festival. The short of it is that emergent bands had to sell fifty tickets or pay the remainder of the 5000$ it amounted to in order to be allowed to play on a shitty stage at the top of a hill right at the festival entrance, far away from the action of the big boys stages, their time slot determined by how many tickets over the required fifty they managed to push. The whole thing, including some statements made by festival organizer Alex Martel to the effect that local band development was none of their concern, reeked of mercantilism and bad taste. For what it’s worth, following the media backlash this piece of news prompted, Alex Martel issued a statement in which he made amends and declared that all bands would be compensated after all. Perhaps too little too late for the festival’s reputation, as the damage was done, but still we’re glad for the few bucks these struggling bands will be getting in the end.

In short, if you went there planning on getting thrashed and battered in every possible way while listening to a mix of mind-blowing punk and metal bands comprising the best line-up ever offered for 80 bucks, you got served and then some! If, however, you headed to the festival expecting a good neighborly time and to be able to hold on to the basic precepts that define us as a civilized and modern society (i.e. food, shelter, safety), you may have felt cheated. Word to the wise for next year: twice the staff, three times the portable toilets, and for god’s sake drinking water galore. With the same kind of once-in-a-lifetime line-up and these common-sense issues resolved, next year’s Rockfest could be (nay, WILL be) the biggest and baddest festival in the Northeast.

Check back often for photo galleries of the event and another piece featuring a very pleasant conversation with Joey Cape!



Album Review: Rise Against – “RPM 10”

Rise Against’s “RPM 10” is one for collectors.  The reissue of Rise Against’s 2003 sophomore disc is a complete re-issue of all the “Revolutions per Minute” original tracks, plus a demo version of each track except “Dead Ringer” and “To the Core.”

The main criticism of later Rise Against works (“Endgame” in particular) is that the band  mellowed some of that bite that made them so dangerous, that they dwindled their fervor to accuse war criminals of their crimes.  But those accusations hadn’t yet been lobbied at Rise Against in 2003, when they were still new to most listeners outside of Chicago and when they were still unequivocally fired-up about everything. “Revolutions Per Minute” is the album that captures a moment in time where there was a new political beast to rally against, and screaming “Fuck George Bush” was still raw.

In retrospect, the album is an interesting point in their career- It’s the first Rise Against record written entirely after the band’s formation.  At the time, Rise Against was on the edge of changing labels and obtaining some mainstream success (for better or worse) with “Swing Life Away” off of “Siren Song…” Their previous release, “The Unraveling”, was a strong album with some great songs by a band who hadn’t entirely found their sound yet.  “RPM” was the moment when the blend of Hardcore and Punk, political and personal, met up just right.

The intensity of the original release is still felt here, a decade later.  For a reactionary album to a war now winding down, the lyrics still cut, and still hold a charged meaning.  On “Blood Red, White and Blue,”  the lyrics “Would God Bless … a war based on pride? …   a money-hungry government?  … the Sweatshops?” still turn a spotlight onto those who labor without recognition, help, or basic rights.  Maybe it’s held up so well because the best albums always seem born of conflict, whether it be the aggravation over the dole, Vietnam, poverty,“War on Terror”, or the war on drugs.  With “RPM”, Rise Against is singing about something, and that driven purpose spits into even the most non-political songs with heavy rhythm sections and words clawing their way out.

The main criticism of “RPM 10” is the lack of new material.  There are no hidden B-sides here, no unheard tracks.  In fact, the hidden track from the original “Revolutions Per Minute” is missing from the re-issue. The one song I was most looking forward to hearing a demo version, “To The Core” is one of two songs without a demo.  Was this song always born of so much piss and vinegar?  The world may never know…

As a whole, the demos sound surprisingly clean and similar to the released songs on the original “Revolutions Per Minute.”  While there is an artistic merit to a vision carried out almost unchanged from inception to release, I find it a bit hard to believe a newer band could find nothing to improve on at the final recordings.   If you get your hands on “RPM 10”, try playing the demo followed directly by the released version of the same song (the album is released as the “Revolutions Per Minute” track list, followed by the demos in the same order).  In the majority of songs, the differences are so slight only music nerds and die-hard Rise Against fans will have many comments.

The original “RPM” is a 5 star album.  It’s progressive, it’s political, it’s pissed off, it’s perfect.  “RPM 10” however, doesn’t add anything new to the conversation.  While “RPM 10” doesn’t diminish the legacy of  the original it seems, sadly, like a money grab.

“RPM 10” is out now.  The reissue, unlike the original album, is also available on Spotify.

4.5/5 Stars



Rise Against streams “Heaven Knows” demo

Rise Against is streaming another demo track, this time for “Heaven Knows”. The song  is part of the ten-track bonus on “RPM 10”, the tenth anniversary edition of “Revolutions Per Minute.  The new edition of the album that brought the Chicago band into the spotlight was released yesterday on Fat Wreck Chords .

You can listen to the song here.



Video Interview: Tim McIlrath talks about war, politics and more

Rise Against frontman Tim McIlrath was interviewed by Music Talks recently. In the interview he discussed war, punk rock and more.

You can check out the interview here.

Rise Against’s most recent studio album, Endgame, was released in March 2011 on Interscope Records. Next week, they are releasing a 10th anniversary reissue of their second album Revolutions Per Minute, and recently streamed a demo version of one of the album’s songs “Like the Angel“, which will appear on the reissue.



Rise Against to begin work on new album next year

Back in January of this year, we reported that Rise Against had plans to to begin work on a new album, which they have described as “fast and screamy”, after they take a break from playing shows. Well, yesterday, bassist Joe Principe was interviewed by Absolute Punk, and confirmed that they will begin work on their new album next year. Here’s what he had to say:

“We have just a couple more shows throughout the year. We’re really focusing on taking some time off and regrouping, we’ve been touring pretty heavily since we started the band. But I’m sure at the end of the year, beginning of next year we’ll start working on a new record, which I’m really looking forward to because I think we’ll be so hungry for new songs after so much time off. I know for me personally I’ve been writing nonstop on my own. We’ll be looking forward to getting back in the room together for sure.”

Rise Against’s most recent studio album, Endgame, was released in March 2011 on Interscope Records. Next week, they are releasing a 10th anniversary reissue of their second album Revolutions Per Minute, and recently streamed a demo version of one of the album’s songs “Like the Angel“, which will appear on the reissue.



Rise Against premiere demo of “Like the Angel”

This year means ten years of Rise Against‘s “Revolutions Per Minute;” and to commemorate, Fat Wreck Chords has plans to re-release their breakout second and dub it “RPM 10.”

The re-issue will include expanded packaging and 10 bonus demos that were recorded during the band’s sessions with Jason Livermore and Bill Stevenson of the Descendents.

The band has posted a demo of their track “Like the Angel.”

Here’s what Rise Against frontman Tim McIlrath had to say,

We have always been more than just a political punk band. While politics play an unapologetic role in what we do, they do not consume our entire artistic output. ‘Like the Angel’ is an early example of the kind of songs that found their ways onto all of our records, and how we’ve always had one foot in politics and one foot in the personal. We loved heavy music but also songs that had a poppy or hooky side to them.

To stream the track in full, click here.

 



Video: Scorpios cover No Use For A Name’s “For Fiona” with Tim McIlrath (Rise Against) at Groezrock

Scorpios, the folk-punk supergroup consisting of Joey Cape, Jon Snodgrass and  Brian Wahlstrom covered  No Use For a Name’s  song “For Fiona” with Tim Mcllrath of Rise Against onstage at Groezrock for Tony Sly (R.I.P.)

You can check out the performance here.



Warped Tour UK line up announcement

Warped Tour UK, taking place November 16th & 17th, has announced the first part of their line up.  Rise Against, YellowcardBilly TalentReal Friends, Itch, Crossfaith,  and Capture the Crown have all been booked to play the fest  at Alexandra Palace, in London.  The rest of the line up has yet to be announced.  General two day tickets are on sale today.

You can buy them here, at 6pm GMT.