SNAKES & ARROWS

An excellently produced, arranged, and overly diverse album such as this cannot leave the listener unsatisfied. Unless you are expected an epic, grand, goose-bumps delivery, tear-jerking progressive rock experience, then you cannot truly detest this album. Ranging from aggressive metallic sections, to serene folk segments, with consistently beautiful and intelligent lyrics, perfectly placed effects, and a crystal-clear sound quality, how could one possibly detest this album? With the lacking of the flamboyant, grand scale that other Rush releases have offered, and the sometimes over-the-top playing, I don't think it would be fairly categorized as a masterpiece, as well.

From the sharp blues pieces, to the complex prog-pop compositions, with the off-the-wall musicianship of each individually infamous musician, the album fulfills the Rush quota. Intense instrumentals contrast the serene acoustic parts, for an even balance. Geddy's vocals, the disease that haunted many non-Rush fans for decades, have been toned down from their sometimes-irritating screeching status. Again, nothing at all has suffered over the years, from the musical virtuoso's skill to the proudly-naive and creatively original lyrics of Peart. In fact, one could argue that most attributes of the bands' have improved significantly. Production has certainly done so: but if their skill has in fact improved, it does not show in the writing. Following in the typical vein now known as pop-prog, this album is filled with tracks spanning no longer than six minutes, and do not feature any unfathomably unique features, or any unexpected complex compositions.

However, it does shape up to be a very nice album, filled with semi-frequent prog elements. It will not imprint its sound on the listener, as many of the songs are uninteresting, and parallel much banal standard contemporary rock. Some simple guitar sections mock Lifeson's outstanding skill as a guitarist, and Peart resists his drumming urges, and very rarely unleashes the hounds. Bass is simple, yes, by Lee's standards, but when standing next to much of today's music, bass is not exactly an instrument that requires outstanding playing to complete its task and purpose in the band. However, the often (but not consistent) lackluster playing does not make the album at all boring. It does make it feel a tad classier, and maybe less wild. Don't forget, these fellows ain't youngsters anymore! For the Rush fan in you, you'll be wanting this album. Don't be expecting an album full of mini-epics, though, and do not overlook the very beautiful sections that sit between the more typical segments.