It is a risky objective for a band whose notoriety is not inextricably linked with good songwriting to release two mid-length tracks in a format which renders this ability and seizes it under close scrutiny. Not that Rush have firmly relied on instrumental aptitude during the last 20 or so years, instead reigning occupancy in the rather hazy murk of middle ground between wanting to extend beyond something they want to remain within. This incurring tension has either resulted in frustration or mild nausea as their pendulum sways between a passage of virtuosity and a captivating hook, though neither in the same breath – sometimes swinging to neither, as the dynamic-less barrage favours more static patterns, than a complimentary sequence of notes. All the more the backdrop to the increasing tetchy in-vogue fascination with secular-humanism of Neil Peart's lyrics, which despite the claim they are thinking "big", it is hardly a motor home. D