"Rush hits the synths hard!"
There is a chorus of voices that aver Rush went downhill after Moving Pictures. I like all of Rush's work, so I would instead say that they changed without depreciating in quality. Deftly merging with the 80s' music climate, Rush's synthesizers -- which, up to this point, had always added texture and ambience -- now became one of the band's main thrusts, working alongside Lifeson's groovier, lighter rhythms. Lee was singing at much lower ranges, and many were finding that he had a very pleasant voice when he wasn't shrieking. Hey, I love his old voice, but it was a bit much for some people.
The fantastic MTV hit "Subdivisions" opens the album with an urgency propelled by lush synthesizers and big hooks, which sets the tone for the rest of the disc. Alongside this commercial triumph is the other radio hit, "New World Man," which is a catchy blend of rock and reggae. "Chemistry" is similar in style to this one, but the lack of a vocal or lyrical hook kills the song. Other highlights include the sad "Losing It," which includes delightful electric violin and some of Peart's most touching lyrics; "Digital Man," which is up-tempo yet mellow and catchy; and the superb "Analog Kid," which rocks hard with the verses but slows to a placid exquisiteness with the unforgettable chorus.
The overall feel had altered, but Rush retained their passion and songcraft that allowed them to survive -- and prevail -- with the change in bearing. That's why this is a great album.
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