Official Clockwork Angels Initial Reactions thread

[samurai1993]

This thing is growing really fast for me. At first I was like "me, this is good, but not good", and have the feeling that the 3 songs that we already had were everything the album had to offer... 'til I heard The Anarchist and realized how much that one had to offer. At this moment the only poor in the album, for me, is Wish them well (And probably it will stay in that position).

 

The only thing that I miss is an instrumental (I would happily trade Wish them well for one of those)... oh, and more cowbell. There is always place for more cowbell.

[theredtamasrule]

7 Cities has really grown on me today, what a great tune.

 

Carnies is awesome, love it and The Anarchist is already classic Rush for me.

 

The Wreckers grew a little also for me but I'm still not totally sold on it.

 

Great album, lots of fantastic tunes, can't wait for the cd.

[Alexmai]

Better than the wildest dream.

Only one listening, until now. Variety, instrumental enjoy, power and softness when necessary.

A different album from Moving Pictures, by a different band.

 

After this only listening, the best album since Power Windows.

Now I'm going to study the lyrics, then listening again.

Great album, until now.

Miles away from everything after Counterparts. Probably better than the better 12 songs TFE -> S&A...

[Unobtrusive Companion]

Given it about 7 or 8 listens now. The Wreckers and The Garden are, in my opinion, two of the best Rush songs ever recorded. The Garden in particular is just beautifully written, and has an incredible aura to it.

 

As far as the rest of the tracks go, there's not a bad one amongst them. If I had to pick the worst one, I'd say BU2B2, simply because it's the shortest and most pointless track. Wish Them Well has grown on me, really liking that one now. The title track, as others have said, is the most prog Rush have been since Natural Science. Carnies and The Anarchist are insane, Seven Cities of Gold has grown to be one of my favourites, and Halo Effect is getting there as well.

 

Wow, there's not a track on this album I don't like.

[Lerxster]

QUOTE (losingit2k @ Jun 5 2012, 09:35 PM)

Title track is Proggy!

Yeah that's what I thought. I caved and listened to this song only, just to releve some pressure. It was deep and proggy. Can't wait to digest this one on Tues, after only taking this nibble.

[greg2112]

Cant believe Seven Cities of Gold isnt getting more praise, its excellent, especially its powerful beginning. Same with Wish them Well, great tune, particularly Alex's solo (one of the best on the record).

 

The only song I'm not completely taking to is the title track, need to give it a few more listens.

 

Wreckers is very good, but not as out of this world as others are saying.

 

Overall, this is one heck of a Rush album. Easily their best since Counterparts, and superior to everything from PowerWindows through RTB.

Edited June 6, 2012 by greg2112

[Del_Duio]

QUOTE (DistantEarlyRushFan @ Jun 5 2012, 03:29 PM)

QUOTE (James_G @ Jun 5 2012, 03:20 PM) The Anarchist is such a brilliant piece of music. One of the main criticisms of late-period Rush is that the vocal lines are often shoe-horned in; I agree with this. Let's compare Geddy's vocal lines in The Anarchist to his vocal lines in Spindrift, and see why The Anarchist works and Spindrift doesn't. Spindrift: The first 35 seconds consists of a jangling noise out of which emerges an eight-note syncopated pattern that characterises the song. Then the bass guitar joins in playing exactly the same thing. Neil also stresses this rhythm heavily. At 45 seconds, Geddy enters with a pretty jarring vocal line. It's jarring because it's more syncopation over a heavily syncopated rhythm played by all three instruments in unison. There's nothing to be syncopated against - where's the beat? The reiteration of this vocal line at 1:10 works much better over Neil's more regular drum line, but the drum line is still too weak on the beat, such that along with the overbearing double bass/guitar rhythm pounding away I still feel like it's stealing attention from rather than supporting the vocal melody. Then, disastrously, as soon as Geddy starts singing a vocal that's much more on-the-beat ("What am I supposed to say..."), the guitar, bass and drum line all suddenly join in a totally straight, unison quaver rhythm that drags on for ever. Flat as a pancake. The balance between straight beat and syncopation, and any kind of interesting rhythmic interplay between the different instrumental and vocal lines is totally missing from this piece - it suffers from multiple catastrophic failures of rhythm. Of course there are other things in rock music apart from rhythmic interplay and syncopation, but I think this is the main culprit that makes Spindrift such a drag to listen to, even though it contains some interesting ideas. The Anarchist: Intro bar + bars 1-4: African drumming style (i.e. syncopated feel), syncopated guitar riff. Bars 5-8: Bass and guitar play the same chord progression in uniform quavers, drum pattern still syncopated Bars 9-16: Bass and guitar continue playing uniform quavers, Neil switches to straight beat as well (but doesn't emphasise all of the beats equally!) Bars 17-24: Guitar drone, syncopated drumming, bass stabs also syncopated Bars 25-32: Guitar and bass syncopated, drumming straight Bars 33-40: Bass and guitar play uniform quavers (in an interesting melodic pattern) over straight drumming with creative fills and synth drone Bars 41-48: Syncopated guitar riff Bars 49-64: Straight drumming, bass and guitars play straight quavers - and the syncopated vocal line enters. So when the vocal line enters: "Will there be world enough and time for me to sing that song?" it's totally supported by a motif that the listener's brain is already familiar with, and it fits like a jigsaw piece into the pattern of rhythmic interchange that's been going on throughout the first 90 seconds of the piece. It's also the most interesting rhythm going on, and therefore this dramatic lyric draws all of the attention that it deserves. The rising theme in bars 33-40, which evokes a more transcendental state of mind than the rest of song, is also effective every time it appears precisely because it stands out rhythmically as well as melodically. Christ, see THIS is why I'm so glad I never bothered with music theory / classes / lessons and etc.   If it sounds good to me, it's good. And really, it should just be that simple!

[Hatchetaxe&saw]

I love Geddy's voice. The lower registers seem to give his voice more soul.

 

This is a really f***ing good album folks.

 

It's lack of immediacy in parts repays in spades after a few listens.

[Presto-digitation]

QUOTE (Del_Duio @ Jun 6 2012, 06:13 AM)

QUOTE (DistantEarlyRushFan @ Jun 5 2012, 03:29 PM) QUOTE (James_G @ Jun 5 2012, 03:20 PM) The Anarchist is such a brilliant piece of music. One of the main criticisms of late-period Rush is that the vocal lines are often shoe-horned in; I agree with this. Let's compare Geddy's vocal lines in The Anarchist to his vocal lines in Spindrift, and see why The Anarchist works and Spindrift doesn't. Spindrift: The first 35 seconds consists of a jangling noise out of which emerges an eight-note syncopated pattern that characterises the song. Then the bass guitar joins in playing exactly the same thing. Neil also stresses this rhythm heavily. At 45 seconds, Geddy enters with a pretty jarring vocal line. It's jarring because it's more syncopation over a heavily syncopated rhythm played by all three instruments in unison. There's nothing to be syncopated against - where's the beat? The reiteration of this vocal line at 1:10 works much better over Neil's more regular drum line, but the drum line is still too weak on the beat, such that along with the overbearing double bass/guitar rhythm pounding away I still feel like it's stealing attention from rather than supporting the vocal melody. Then, disastrously, as soon as Geddy starts singing a vocal that's much more on-the-beat ("What am I supposed to say..."), the guitar, bass and drum line all suddenly join in a totally straight, unison quaver rhythm that drags on for ever. Flat as a pancake. The balance between straight beat and syncopation, and any kind of interesting rhythmic interplay between the different instrumental and vocal lines is totally missing from this piece - it suffers from multiple catastrophic failures of rhythm. Of course there are other things in rock music apart from rhythmic interplay and syncopation, but I think this is the main culprit that makes Spindrift such a drag to listen to, even though it contains some interesting ideas. The Anarchist: Intro bar + bars 1-4: African drumming style (i.e. syncopated feel), syncopated guitar riff. Bars 5-8: Bass and guitar play the same chord progression in uniform quavers, drum pattern still syncopated Bars 9-16: Bass and guitar continue playing uniform quavers, Neil switches to straight beat as well (but doesn't emphasise all of the beats equally!) Bars 17-24: Guitar drone, syncopated drumming, bass stabs also syncopated Bars 25-32: Guitar and bass syncopated, drumming straight Bars 33-40: Bass and guitar play uniform quavers (in an interesting melodic pattern) over straight drumming with creative fills and synth drone Bars 41-48: Syncopated guitar riff Bars 49-64: Straight drumming, bass and guitars play straight quavers - and the syncopated vocal line enters. So when the vocal line enters: "Will there be world enough and time for me to sing that song?" it's totally supported by a motif that the listener's brain is already familiar with, and it fits like a jigsaw piece into the pattern of rhythmic interchange that's been going on throughout the first 90 seconds of the piece. It's also the most interesting rhythm going on, and therefore this dramatic lyric draws all of the attention that it deserves. The rising theme in bars 33-40, which evokes a more transcendental state of mind than the rest of song, is also effective every time it appears precisely because it stands out rhythmically as well as melodically. Christ, see THIS is why I'm so glad I never bothered with music theory / classes / lessons and etc.   If it sounds good to me, it's good. And really, it should just be that simple! I can appreciate that level of thought, but I can't relate to it. I certainly can't imagine "hearing" an album in those kinds of terms.   It's like asking your wife if she'd like to propogate blood flow to your genitals, the stimulation being likely to cause an erection, at which point we can properly and successfully fornicate....instead of leaning over and saying, "Hey sexy lady, make love to me."

Edited June 6, 2012 by Presto-digitation

[Hatchetaxe&saw]

QUOTE (Presto-digitation @ Jun 6 2012, 11:33 AM)

QUOTE (Del_Duio @ Jun 6 2012, 06:13 AM) QUOTE (DistantEarlyRushFan @ Jun 5 2012, 03:29 PM) QUOTE (James_G @ Jun 5 2012, 03:20 PM) The Anarchist is such a brilliant piece of music. One of the main criticisms of late-period Rush is that the vocal lines are often shoe-horned in; I agree with this. Let's compare Geddy's vocal lines in The Anarchist to his vocal lines in Spindrift, and see why The Anarchist works and Spindrift doesn't. Spindrift: The first 35 seconds consists of a jangling noise out of which emerges an eight-note syncopated pattern that characterises the song. Then the bass guitar joins in playing exactly the same thing. Neil also stresses this rhythm heavily. At 45 seconds, Geddy enters with a pretty jarring vocal line. It's jarring because it's more syncopation over a heavily syncopated rhythm played by all three instruments in unison. There's nothing to be syncopated against - where's the beat? The reiteration of this vocal line at 1:10 works much better over Neil's more regular drum line, but the drum line is still too weak on the beat, such that along with the overbearing double bass/guitar rhythm pounding away I still feel like it's stealing attention from rather than supporting the vocal melody. Then, disastrously, as soon as Geddy starts singing a vocal that's much more on-the-beat ("What am I supposed to say..."), the guitar, bass and drum line all suddenly join in a totally straight, unison quaver rhythm that drags on for ever. Flat as a pancake. The balance between straight beat and syncopation, and any kind of interesting rhythmic interplay between the different instrumental and vocal lines is totally missing from this piece - it suffers from multiple catastrophic failures of rhythm. Of course there are other things in rock music apart from rhythmic interplay and syncopation, but I think this is the main culprit that makes Spindrift such a drag to listen to, even though it contains some interesting ideas. The Anarchist: Intro bar + bars 1-4: African drumming style (i.e. syncopated feel), syncopated guitar riff. Bars 5-8: Bass and guitar play the same chord progression in uniform quavers, drum pattern still syncopated Bars 9-16: Bass and guitar continue playing uniform quavers, Neil switches to straight beat as well (but doesn't emphasise all of the beats equally!) Bars 17-24: Guitar drone, syncopated drumming, bass stabs also syncopated Bars 25-32: Guitar and bass syncopated, drumming straight Bars 33-40: Bass and guitar play uniform quavers (in an interesting melodic pattern) over straight drumming with creative fills and synth drone Bars 41-48: Syncopated guitar riff Bars 49-64: Straight drumming, bass and guitars play straight quavers - and the syncopated vocal line enters. So when the vocal line enters: "Will there be world enough and time for me to sing that song?" it's totally supported by a motif that the listener's brain is already familiar with, and it fits like a jigsaw piece into the pattern of rhythmic interchange that's been going on throughout the first 90 seconds of the piece. It's also the most interesting rhythm going on, and therefore this dramatic lyric draws all of the attention that it deserves. The rising theme in bars 33-40, which evokes a more transcendental state of mind than the rest of song, is also effective every time it appears precisely because it stands out rhythmically as well as melodically. Christ, see THIS is why I'm so glad I never bothered with music theory / classes / lessons and etc.   If it sounds good to me, it's good. And really, it should just be that simple! I can appreciate that level of thought, but I can't relate to it. I certainly can't imagine "hearing" an album in those kinds of terms.   It's like asking your wife if she'd like to propogate blood flow to your genitals, the stimulation being likely to cause an erection, at which point we can properly and successfully fornicate....instead of leaning over and saying, "Hey sexy lady, make love to me." If I said that to my wife, she'd laugh, and go back to her book!   But, I catch your drift.

[madra sneachta]

I'm with HA&S - It doesn't always grab you by the short and curlies immediately, but after three listens it insiduously eats its way into your brain.

 

My initial reaction was The Garden is an amazing song, soon to be in my Ruish Top 10, I think. Headlong Flight sounds wonderful - Nick earned his money on that one alone. In fact, the production is superb throughout, and I have no hesitation in saying that Nick is the best they've had since Broon.

 

I like Wish Them Well a lot, I know it's had a few knockers, Seven Cities and Clockwork Angels are slow burners, but like the Olympic flame, they'll not go out once they've been kindled.

 

This is a classic.

[Chas]

Listened to it last night. Such a great album. A lot of great tracks on it but stand outs for me would be Clockwork Angels, The Wreckers and The Garden. The tracks that were already released still sound great.

[Hatchetaxe&saw]

QUOTE (madra sneachta @ Jun 6 2012, 11:36 AM)

I'm with HA&S - It doesn't always grab you by the short and curlies immediately, but after three listens it insiduously eats its way into your brain. My initial reaction was The Garden is an amazing song, soon to be in my Ruish Top 10, I think. Headlong Flight sounds wonderful - Nick earned his money on that one alone. In fact, the production is superb throughout, and I have no hesitation in saying that Nick is the best they've had since Broon. I like Wish Them Well a lot, I know it's had a few knockers, Seven Cities and Clockwork Angels are slow burners, but like the Olympic flame, they'll not go out once they've been kindled. This is a classic.

Hey Donal!

 

I've taken the day off, gardening until noon, wall to wall CA all day.

 

The Wreckers. WOW. It's so tuneful, it's like a big kiss.

[Stormtron]

QUOTE (Presto-digitation @ Jun 6 2012, 07:33 AM)

propogate blood flow to your genitals, the stimulation being likely to cause an erection, at which point we can properly and successfully fornicate....

Goddamn, it's getting sexy in here.

[Hatchetaxe&saw]

QUOTE (Storm Shadow @ Jun 6 2012, 11:49 AM)

QUOTE (Presto-digitation @ Jun 6 2012, 07:33 AM) propogate blood flow to your genitals, the stimulation being likely to cause an erection, at which point we can properly and successfully fornicate.... Goddamn, it's getting sexy in here. Sounds like a lyric from Counterparts....

[Animate]

QUOTE (Hatchetaxe&saw @ Jun 6 2012, 06:52 AM)

QUOTE (Storm Shadow @ Jun 6 2012, 11:49 AM) QUOTE (Presto-digitation @ Jun 6 2012, 07:33 AM) propogate blood flow to your genitals, the stimulation being likely to cause an erection, at which point we can properly and successfully fornicate.... Goddamn, it's getting sexy in here. Sounds like a lyric from Counterparts.... That did not sound like a job description to me... just saying...

[Animate]

I did not down load the album, but have been listening to posts on You Tube. It is interesting- Warner Bros is removing tact postings within about 2 hours of their listings. So, all that remains is a deleted video notice, saying that the video broke copy right laws.

 

 

[Hatchetaxe&saw]

Playing The Garden again, Jesus H, this is HUGE. That piano, those lyrics, the strings.

 

This is a song by men who have lived, loved and lost, like all of us, but luckily for us, they make something astonishing out of their experiences. This is not something tossed off by some Prog wannabe or some supposed technical wunderkind. This is music to nourish the soul.

 

It ends with magic.

[Khan]

QUOTE (Hatchetaxe&saw @ Jun 6 2012, 08:09 AM)

Playing The Garden again, Jesus H, this is HUGE. That piano, those lyrics, the strings. This is a song by men who have lived, loved and lost, like all of us, but luckily for us, they make something astonishing out of their experiences. This is not something tossed off by some Prog wannabe or some supposed technical wunderkind. This is music to nourish the soul. It ends with magic.

Yes...totally awesome

[rushgoober]

QUOTE (Hatchetaxe&saw @ Jun 6 2012, 05:09 AM)

Playing The Garden again, Jesus H, this is HUGE. That piano, those lyrics, the strings. This is a song by men who have lived, loved and lost, like all of us, but luckily for us, they make something astonishing out of their experiences. This is not something tossed off by some Prog wannabe or some supposed technical wunderkind. This is music to nourish the soul. It ends with magic.

So you're saying you LIKE the song?

[Hatchetaxe&saw]

QUOTE (rushgoober @ Jun 6 2012, 01:00 PM)

QUOTE (Hatchetaxe&saw @ Jun 6 2012, 05:09 AM) Playing The Garden again, Jesus H, this is HUGE. That piano, those lyrics, the strings. This is a song by men who have lived, loved and lost, like all of us, but luckily for us, they make something astonishing out of their experiences. This is not something tossed off by some Prog wannabe or some supposed technical wunderkind. This is music to nourish the soul. It ends with magic. So you're saying you LIKE the song?

[Gompers]

QUOTE (Del_Duio @ Jun 6 2012, 07:13 AM)

If it sounds good to me, it's good. And really, it should just be that simple!

Amen brother. Even as a musician/composer you go with what you like especially if it sounds good.

 

As of right now, I still like Spindrift better of the two in comparison.

[Gompers]

QUOTE (Bangster of Goats @ Jun 5 2012, 11:08 PM)

Yeah the title track is easily the proggiest track they've done since Natural Science. It's sublime.

Uh...The Camera Eye?

[snowdog2112]

QUOTE (Gompers @ Jun 6 2012, 07:14 AM)

QUOTE (Bangster of Goats @ Jun 5 2012, 11:08 PM) Yeah the title track is easily the proggiest track they've done since Natural Science.  It's sublime. Uh...The Camera Eye? Really? I think The Camera Eye is just long, it's awesome but it's more of a traditional song that's just stretched. Clockwork Angels is much more "adventurous" and "out there" to me. But it's all about how you want to define things.

[Gompers]