Rush
Hemispheres

1978. Another record to frame for the three Canadians of prog. Once again, Rush produce an album with a clear prog-rock orientation, as they did with the superb "2112" and "A Farewell To Kings." Just four songs (two longer and more complex, the other two shorter) and only 36 minutes are enough for Rush to give us another delightful dish of complex structures, catchy melodies, thrilling sound effects, fleeting technique, and an excellent dose of energy.

The record clearly confirms the sounds expressed in the previous "A Farewell To Kings" and seems to deliver an even better performance. Few changes are made in terms of instrumentation and structures: Geddy Lee confirms a desire to experiment with synths but without neglecting his poignant bass riffs, Peart continues to use his beautiful percussion setup to accompany his drums, Lifeson once again proves himself skilled at playing with his guitar.

It opens grandly with the continuation of that "Cygnus X-1" with which we left them the previous year. 18 minutes to truly listen with all your heart and all the conviction of what Rush are. The structure may be a little too repetitive for a track of such length; at least in the first 12 minutes, the song seems not to have that typical articulation of suites, proposing fairly similar melodies to each other (fortunately without boring!): good guitar riffs, replaced by arpeggios at some moments, a few notes with the synth, and the excellent vocal performance of Lee; then after 12 minutes, we are drawn into spatial atmospheres which, if inserted into a sci-fi movie, would lead to an Oscar award; all thanks to Geddy Lee's synthesizers (and I wonder why other synth reviewers never talk about them when, back then, they were already effectively part of the band's equipment and contributed significantly to their sound); then the track resumes its charge almost instantaneously, giving room once again to Lifeson's grit before concluding with a pleasant acoustic guitar.

And after leaving the black hole, here comes the shortest track of the four, "Circumstances". Lifeson is the protagonist with his powerful guitars that more explicitly refer to hard rock rhythms; but the synth loop that intervenes in the central part is jaw-dropping. More melancholic is No. 3 "The Trees": opening with a sweet classical guitar, then quickly making way for the electrics, and the central part here too deserves applause: long arpeggios by Lifeson, Peart playing with percussion, and Lee delivering another beautiful melody with the synth.

And who knows what hat we should bow to the instrumental "La Villa Strangiato" that closes the record! Certainly not with a rapper cap or a construction helmet, perhaps a top hat fits! Nine and a half minutes characterized by technique and imagination! And if the morning shows the day... the classical guitar, with a flamenco-style melody, opens the track with a real touch of elegance, then a skillful Peart dictates the rhythm, accompanying very delicate arpeggios and the magic of the synthesizers before unleashing an energetic rock well played by everyone: Lifeson gives authentic guitar lessons, Lee doesn't fail to accompany with the notes of his magical bass, Peart proves he truly has rhythm in his blood. The central part, slower, with Peart in a more jazz key, should not be overlooked, but it gives Lifeson the opportunity to unleash another great solo.

And we take the CD out of the player with a bit of bitterness because we wish it would never end, but with a certain vanilla flavor in our mouths and in our minds the awareness of having listened to a great music album.

And answering Mina, who asked us "but what is this little thing here?" we reply: "It is an authentic masterpiece signed Rush!" What more could we say? (5 stars after regretting having given 4 to the others)