Going into Ricochet, there’s a reasonable expectation—especially for anyone encountering Rise Against for the first time—that the band will deliver urgency, tension, and at least a trace of punk defiance. Instead, the album opts for safety. What unfolds is a sleek, radio-ready rock record that rarely pushes itself and often feels like it’s intentionally pulling its punches. The production is clean and professional, the performances are solid, but the spirit that once defined the band feels muted, leaving much of the album drifting into background-listen territory.

From the opening moments of “Nod,” the record establishes a template it rarely strays from. The riffs are functional but unremarkable, the drums restrained to the point of stiffness, and the songwriting clings tightly to familiar rock structures. Backing vocals occasionally add weight, and the bass is consistently thick and well-shaped, but these elements seldom elevate the songs beyond passable. Even when the drum work becomes more detailed later on, the energy never truly crests.

That sense of hollowness carries through “I Want It All” and the title track “Ricochet.” Both aim for big, emotionally charged moments, but the execution feels oddly empty. Acoustic layers and light synth textures attempt to add atmosphere, yet the mixes come off as sparse rather than expansive. For an album named after impact and recoil, many of these tracks land without much force, leaning heavily on well-worn 2000s rock conventions without offering a fresh perspective.

As the album moves forward, its caution becomes more pronounced. Songs like “Damage Is Done” and “Us Against the World” slide further into mainstream rock comfort zones, complete with softened vocal delivery, predictable builds, and a notable absence of urgency. At times, the sound even flirts with arena-rock gloss, a strange fit for a band historically rooted in punk ethos. When heavier moments do appear—an isolated scream or a late dynamic shift—they feel more cosmetic than cathartic.

“Black Crown” briefly breaks the spell, sounding more alive and brooding than much of what surrounds it. The bass finally feels imposing, the drums snap with purpose, and the vocals carry a sense of engagement that’s been missing. Layered vocals and subtle synths give the track depth, offering a glimpse of what the album might have been with more commitment to mood and tension. Unfortunately, that spark doesn’t sustain itself.

Tracks like “Sink Like a Stone,” “Forty Days,” and “State of Emergency” continue the struggle with restraint. There are flickers of sharper riffing and urgency, but they’re fleeting, quickly smothered by safe arrangements and conservative performances. Even at higher volumes, the songs rarely feel emotionally charged. The bass often shoulders the most impact, while the guitars blur into the background and the drums remain firmly within basic patterns.

The closing stretch shows some late movement. “Gold Long Gone” benefits from its acoustic foundation and subtle flourishes, including a gentle flute line that gives it a modest charm. “Soldier” finally lets the guitars step forward, injecting some long-overdue bite into both the riffs and vocal delivery. “Prizefighter” ramps up the drum intensity, but a muffled mix and overly subdued vocals keep it from landing as a truly forceful closer.

In the end, Ricochet feels less like a failure and more like a missed opportunity. It’s a competently written and well-produced album, but one that plays things so safely it struggles to leave a lasting impression. For a band with Rise Against’s legacy, the absence of fire, urgency, and conviction is hard to ignore. Rather than hitting with impact, Ricochet fades out quietly—leaving behind not a shockwave, but a faint echo.