When Rush issued Vapor Trails in 2002, they revealed that -- even after Neil Peart's personal tragedies in the 1990s had cast the group's future in doubt -- they were back with a vengeance. The sound was hard-hitting, direct, and extremely focused. Lyrically, Peart went right after the subject matter he was dealing with -- and it was in the aftermath of 9/11 as well, which couldn't help but influence his lyric writing. In 2004 the band issued a covers EP that was in one way a toss-off, but in another a riotous act of ...
When Rush issued Vapor Trails in 2002, they revealed that -- even after Neil Peart's personal tragedies in the 1990s had cast the group's future in doubt -- they were back with a vengeance. The sound was hard-hitting, direct, and extremely focused. Lyrically, Peart went right after the subject matter he was dealing with -- and it was in the aftermath of 9/11 as well, which couldn't help but influence his lyric writing. In 2004 the band issued a covers EP that was in one way a toss-off, but in another a riotous act of freewheeling joy that offered a side of the band no one had heard for 30 years. There were a couple of live offerings and a 30th anniversary project as well that kept fans happy perhaps, but broke -- though Rush in Rio was the kind of live album every band hopes to record. Snakes & Arrows represents the band's 18th studio album. Produced by Nick Raskulinecz (Foo Fighters, Velvet Revolver, Superdrag), the record is another heavy guitar, bass, and drums...drums...and more drums record. The title came -- unconsciously according to Peart -- from a centuries-old Buddhist game of the same name about karma, and also from a play on the words of the children's game Chutes and Ladders . Its subject matter is heavy duty: faith and war. From the opening track (and first single), acoustic and electric guitars, bass hum, and Peart's crash-and-thrum urgency in the almighty riff are all present. When Geddy Lee opens his mouth, you know you are in for a ride: "Pariah dogs and wandering madmen/Barking at strangers and speaking in tongues/The ebb and flow of tidal fortune/Electrical charges are charging up the young/It's a far cry from the world we thought we'd inherit/It's a far cry from the way we thought we'd share it...." At the same time, inside the frame of the refrain, Lee refuses to be conquered in the face of chaos: "One day I feel like I'm ahead of the wheel/And the next it's rolling over me/I can get back on/I can get back on." Alex Lifeson's guitars swell and Peart's crash cymbals ride the riff and push Lee to sing above the wailing fray. Great beginning. "Armor and Sword" contains an instrumental surprise. After an initial ride-cymbal clash, the guitar and bassline sound exactly like King Crimson playing something from Red or Larks' Tongues in Aspic. The theme is repeated on an acoustic guitar before Lee begins singing about the shadowy side of human nature brought on by the many times children are scarred in development. The boom and crackle of electric guitars and bass are all there, but so is that sense of melody that Rush have trademarked as Lee states, "...No one gets to their heaven without a fight/We hold beliefs as a consolation/A way to take us out of ourselves...." There is no screed for or against religion per se, but a stake in the claim of hope and faith as absolutely necessary to accomplish anything, hence the refrain. Peart beautifully articulates the dark side of life's undersurface; he has been writing the best lyrics of his entire career on the band's last two studio records -- only two in the last ten years. The dynamic works against the melody and Lifeson's brief but screaming solo is a fine cap on it. "Workin' Them Angels" blends the acoustic against the electrics gorgeously, and Lee sings counterpoint to the guitars. "The Larger Bowl" is one of those Rush tunes that builds and builds both lyrically and musically, beginning with only Lee's voice and Lifeson's acoustic guitar. Its shift-and-knot rhythms and spatial dynamics offer the impression -- as does the rest of the album -- that the bandmembers are playing in the same room at the same time (it happened to a lesser degree on Vapor Trails, but here the impression is constant). The sounds -- both hard and soft -- blend together wonderfully. The live feel of the record with its sonic washes and overdubbed guitars and vocals creates near chaos without loss of control. It's like teetering on the edge of an abyss with one eye on both sides of...
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