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ÝÄÄÄÄÄÄ Release Info ÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄ ÞÝ ÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄ Ý ÄÄÄÄÄÄÄÄ Þ
Þ
Þ
Originally released : 05-02-2007
Release date : 05-02-2007
Album name : Snakes And Arrows
Artist : Rush
Ripped by : miked00
Genre : Rock
Label : Atlantic
Encoding Software : Lame EOS
Quality : -V 2
Tracks : 13
Size of Files : 100,7 MB
Ä Track list ÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄ ÄÄÄ Ä Ä
01 05:19 Far Cry
02 06:36 Armor And Sword
03 04:47 Workin' Them Angels
04 04:07 The Larger Bowl
05 05:24 Spindrift
06 06:02 The Main Monkey Business
07 06:28 The Way The Wind Blows
08 02:02 Hope
09 05:31 Faithless
10 05:12 Bravest Face
11 04:52 Good News First
12 02:17 Malignant Narcissism
13 04:13 We Hold On
Total time: 62:50 min
Ä Release notes ÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄ ÄÄÄ Ä Ä
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 [CENSORED]ren'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 [CENSORED]ren 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
yet spare 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 it.
Song by song, the notions of tension build, taking the
listener to a place where hope and faith are challenged
continually, not only in the face of the entire world,
but in one's personal relationships -- check
"Spindrift." Echoes of T.S. Eliot's The Waste Land,
Robert Frost, Matthew Arnold, and The Odyssey are
glanced upon, as is The Dhammapada in the Buddhist
scriptures -- with more of a thematic than referential
purpose.
Amid all this seriousness, there is a bit of humor. The
instrumental track "Malignant Narcissism" references a
line in the comedic film Team America: World Police
from Matt Stone and Trey Parker of South Park fame. It
comes from a line in the film that reveals how
terrorists think. It's one of three absolutely stunning
instrumentals; another is "The Main Monkey Business,"
which sounds like the closest Rush have gotten to
jamming in the studio in over 20 years. Think of the
intensity of 2112 with the musicianship of Vapor
Trails, and you begin to get a picture: screaming
guitars, deep bass thrum, soaring keyboards, and all
those pop-and-boom drums from Peart's massive kit. "The
Way the Wind Blows" is Rush taking on the blues in
massive metallic style, and it feels more like Cream in
the intro. Lee's vocal drives deep inside the lyric --
it's tense, paranoid, yet revelatory. It's about the
perverse magnetism of religion and war, and how both
are seemingly designed to be cause and effect:
fanatical religiosity leads to war. There are different
theories on this, but Peart distills them well, as if
he's read (but not necessarily completely understood)
René Girard's seminal work Violence and the Sacred. The
album changes pace a bit with the instrumental "Hope,"
a largely 12-string acoustic guitar piece played off a
medieval theme by Lifeson. "Faithless" is anything but.
It's one of those Rush tracks where counterpoint vocals
against the guitars and basslines create that unique
welling of sound that occurs when the band is at its
peak on-stage. The set ends with "We Hold On," a track
that expresses the sum total of all the struggles life
offers and holds. Here Eliot the poet is quoted
directly at the end of the third verse. It's anthemic,
with backmasked guitars, Peart playing actual breaks,
and Lee's bass holding the chaos together with a
constant pulsing throb, guiding the various knotty
musical changes back to the center of the verse and
refrain, which is the place where the cut just explodes
in sonic fury. Snakes & Arrows is one of the tightest
conceptual records the band has ever released.
Musically, it is as strong as their very best material,
without a lapse in texture, composition, production,
musicianship, or sheer rock intensity. There are real
heart and fire in this album. It was well worth waiting
for.
allmusic.com
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