RUSH - "Snakes & Arrows"

RUSH
“Snakes & Arrows”
Atlantic

Once again the Boys from the Great White North change their sound; something they do every three or four albums either to press their artistic limits or to capture – and redefine – the score of the current music scene. Coming off 2002’s Vapor Trails, a bass-n-grunge heavy set of riotous and catchy anthems, Snakes & Arrows is still cool and, albeit, even slightly counter-contemporary, but definitely mellow and lo-fi not making it the most complementary of pieces.

Vapor Trails was released after a six-year-long wait and jumped with intensity. If there was any message the release seemed to generate it was, “We’re RUSH. We’re back. We’re louder than ever.” Snakes & Arrows, then, has a slightly different message. Perhaps it’s, “We’re RUSH. We’re a little older, a little wiser, and maybe don’t have to be so damn loud.”

There is a definite acoustic feel to this release, which plays heavily into the mellow mood. Even Alex Lifeson’s electric work has more of a 6- and 12-string organic rhythm rather than the normal crispness of technicality. As a result, unfortunately, some tracks become instantly forgettable.

RUSH opens the release with their rocking new single, “Far Cry”. “Armor and Sword” has a beautiful composition and arrangement, but the band then tunes it down too quickly as the next three tracks all have a too-similar feel that suppresses any individuality. The second half picks up the pace with “Faithless”, a song that has that great 80’s style b-side quality, the progressive “Good News First” and closes, as it began, with the rocker “We Hold On”.

Snakes & Arrows has three instrumentals interspersed throughout the CD and all of them are complex, beautiful, attention-grabbers that makes you remember why you’re a RUSH fan in the first place: fast licks, pounding bass and beyond-tricky fills. In fact Lifeson’s son, Lexrt, composes and performs the second one, “Hope”, which captures all the magic of the band.

RUSH has built a long-lasting career on artistic changes, longer than many of today’s bands can ever dream of accomplishing. They no longer need to prove themselves as the Tech Masters of Prog Rock who have assumed control. Nor do they need to outdo themselves in the limelight with each new release like a new world man. But nor are they today’s Tom Sawyer. Snakes & Arrows is occasionally clunky both in Peart’s lyrics and Lee’s serious vein of music, but it also knows when to jam, when to sing and yes, the instrumental “Malignant Narcissism” evens allows you an air-drum solo.

As Always,
theJOE