Official Clockwork Angels Initial Reactions thread

[Gedneil Alpeart]

QUOTE (James_G @ Jun 4 2012, 03:11 PM)

Thanks to the guy who provided the link for this album (obligatory note: of course I'm paying for the CD too!). My overall impression: it's vastly better than the last three albums, and furthermore unlike every other Rush album since Power Windows, there are no genuinely poor, half-hearted songs on Clockwork Angels. There is no tail end of mediocrity, no shortage of ideas and energy, no...Dog Years. It's debatable whether the stronger songs on the new album are better than (or in particular, as well-formed as) the best songs from other albums in this period: Mission, The Pass, Ghost Rider et cetera. Debatable...after a few listens, I would say that The Anarchist, Clockwork Angels and The Garden in particular are strong candidates for best Rush song since Power Windows. The album is very dense with ideas and rhythms (this is why some of the samples gave a poor impression of the music - most of these songs are based at heart around sustained rhythmic motion). If anything is lacking over the album as a whole, it's the careful arrangement of these ideas into elegantly formed songs ("The Garden" being a notable exception) but the music is all there. The character of thrusting energy exhibited by several of the songs on Clockwork Angels is similar to that of songs like "Ceiling Unlimited" from Vapor Trails, only the musical ideas, chord progressions, vocal melodies, hooks etc. herein are much better. Note that most of the songs take multiple listens to absorb fully - it's also well worth listening to this superbly-produced album with headphones. Track-by-track: Caravan: This is very slightly improved, with some added phaser effects being the most significant change. BU2B: The new introduction is a little tacked-on but makes the start of the piece less jarring - another slight improvement to an already good song. Clockwork Angels: I'm really surprised that some people don't like this one, because it's the proggiest cut and a highlight of the album. The verse sections feature a bass rhythm and sustained chords reminiscent of the bridge from Digital Man, and these are interchanged with driving riffs a la Double Agent. Something that stands out in this piece and others on Clockwork Angels is that Alex's solo is actually given space and prominence within the structure of the song, rather than being perfunctory and stuffed in the background. This is a complicated song with a lot of different sections, but it's no different to (say) Natural Science in that respect; there's a current of energy running through it that holds it together. The Anarchist: Neil's switches between a loose African drumming style and his usual rock style to great effect in this cut. Again, there's a lot of different ideas in this song apart from the opening riff; in particular, there's a recurring motif that sounds just like something from Permanent Waves or Moving Pictures, and it's undergirded by a warm analogue-sounding synth wash to boot. It reminds me in particular of Jacob's Ladder. Really melodic vocal lines with flowing lyrics, and some Eastern-sounding strings woven in effectively. A guitar solo towards the end of The Anarchist is reminiscent of both Rainbow's The Gates of Babylon and Tool's Third Eye. This is a brilliant song, particularly on repeat listening. Carnies: The fifth whiplash-inducing song in a row. The bass joins in with that awesome guitar riff, only to make way for an evocative, exotic rising motif. The verses feature a chord progression reminiscent of Max Webster's Night Flights with a guitar figure similar to the bridge from The Trees. Really creative bass playing, too. There's some of that power-chord jamming from Secret Touch, Earthshine etc., but it's a lot cleaner-sounding and more balanced here - and it works better over Neil's new African drumming patterns. Halo Effect: In short, the verses are similar to Nobody's Hero, and the choruses are almost a direct lift from the verses of Half the World. In common with Half the World, this piece also features a mandolin section. Despite it being a little self-derivative, the album benefits from the inclusion of a slower song at this point, and the production of the strings and acoustic guitar is excellent. Seven Cities of Gold: Primus-style bass theatrics from Geddy at the start. This builds to a snaking, Zeppelinesque riff shared by Geddy and Alex that winds its way and surfaces repeatedly throughout the song. Another catchy chorus, and at some point Alex gets to scream and solo over the crazy bass lines from the intro. Parts of this have a classic rock feel, there's red hot jamming and also a few characteristically modern Rush elements present. The Wreckers: The intro, which is reiterated later in the song, is pure mid-90s alt-rock; however, the heart of The Wreckers is in the contemplative strummed chord progression of the verses, and even more so in its haunting, melodic chorus. The song, which also features an ominous Pink Floydian bridge, seems like a much more successful realisation of what Rush were aiming for with songs like Spindrift, Faithless and Bravest Faith. Headlong Flight: Still good. BU2B2: This seems to be a nod to the soliloquy section of 2112 - with a more optimistic outcome. It also adds a little credence to Clockwork Angels's status as a "concept album". The pulsating string rhythm is unsettling in a similar way to the outro of I am the Walrus, and ominous synth noises rumble in sonic space below the string ensemble. It's more or less a purely rhythmic track of an atmospheric nature. Wish Them Well: This is a deliberately straightforward anthemic rock song, alternating between strident major chords and a rising figure mildly reminiscent of The Pass. The bridge section bears a passing resemblance to the verses of Grand Designs. Despite it being a generally simple piece, a brief jam session breaks out in the middle of Wish Them Well to provide Alex with an opportunity to solo. It's a little clumsy perhaps, but this piece has an infectious, high-spirited and bold simplicity that makes it a worthwhile addition to the album. The Garden: Dolorous bass harmonics backed by fluttering strings introduce the album's concluding song. The acoustic verses are wistful, with a harsh edge imparted by the string ensemble; the chorus is abruptly melancholy. Geddy's voice conveys the meaning of the song beautifully, particularly when duetting with a piano in the fragile bridge. Alex produces a well-measured solo. The overcast but hopeful tone harks back to Different Strings, but the pain is much darker - "the hours tick away, the cells tick away", if I hear that correctly, is a particularly sad line. This is the fitting conclusion to a late classic album from Rush.

Now THIS is what I call a REVIEW!! Great analysis and obs.

[Flying Finn]

QUOTE (James_G @ Jun 5 2012, 12:55 AM)

The Garden is a special song; I can see that being the concluding song of the second set before a more upbeat encore.

Could work before the drum solo too and then some classics. But yes The Garden should be somewhere in the end.

 

Well it's 1 a.m already so no more listening today. Or maybe I listen that fabulous The Garden once more and then go to bed.

Edited June 4, 2012 by Flying Finn

[sb2112]

Only listened once so far. Some random thoughts:

 

-Carnies, Seven Cities and Halo Effect are the only three I wasn't that into after one listen.

-The chorus of The Wreckers has been stuck in my head all day. Such an amazingly catchy song.

-Wish Them Well is pretty fun. I'm surprised it's not getting much love so far.

-My absolute favorite so far is easily The Garden. It's incredibly beautiful. The perfect spot in the setlist for this would be after the drum solo, since there's no Neil for the early part.

[ThinkingBig]

Have official lyrics shown up anywhere?

 

Scans from a fan pack and the like?

 

Not guessing, the real deal with NPs little drawings etc.

 

 

I'm listening to the Anarchist as I type this. I want to meet this guy. There's so much going on in these songs, Ged singing into filtered mics, reminds of the 'characters' from 2112 - the priests, the man, and the solar fed.

[presto123]

Initial thoughts:

 

Man those sound clips didn't do anything justice

Probably best record since PoW as I was hoping

Many goosebump moments

Neil is killing it...truly one of his best drumming records

I feel Rush combined all their eras on this(less so 80's)

I could go for a little cleaner guitar sound but a minor complaint

Ged sounds like the old Ged on bass

I wouldn't mind the strings even higher in mix

 

 

 

I was doubting just a little after the clips but big thumbs up after a first listen. I already loved the first three songs so that combined with all the other awesome tracks adds up to modern day classic. We'll see how it stacks up after repeated listens but I could see this record cracking my top 5 or 6. Truly amazing at this stage.

[quickfree]

The title track on here is jawdroppingly amazing. The chorus is the highlight of the song. It really stands out amongst the rest and my favorite of the whole disc. Why didn't write songs like this before when VT came out? The clean gorgeous guitar chords in the verses.

 

The Kashmir-esque solo/ending on Anarchist is another good way to differentiate that song from the usual riffage we've heard on Vapor Trails/Counterparts.

 

Weirdest track: Carnies. And you can tell the concept feel is really present on the first 6 songs here. The strangeness structure of Carnies makes me feel them going into a Dream Theater-esque interlude like Scenes From A Memory.

 

7 Cities is another weird one. The main riff reminds me of a Load-era Metallica riff but in a good way. The guitar riffage is good here but Geddy's vocals kind of suffer. They probably won't play this one live all that much which would be a shame if ture.

 

The 3rd single: Sweet Mirac..I mean the Wreckers. For sure. They play this one live definitely.

 

I'm confused about the 5 song segment which is supposed to be Clockwork Angels Five/Suite. Carnies sounds like its part of the 5 song suite, then you add the Anarchist and Headlong Flight along with the first 3 songs, you get six. So there's more songs on here that are interlinked than previously believed.

[snowdog2112]

QUOTE (quickfree @ Jun 4 2012, 04:06 PM)

The title track on here is jawdroppingly amazing. The chorus is the highlight of the song. It really stands out amongst the rest and my favorite of the whole disc. Why didn't write songs like this before when VT came out? The clean gorgeous guitar chords in the verses. The Kashmir-esque solo/ending on Anarchist is another good way to differentiate that song from the usual riffage we've heard on Vapor Trails/Counterparts. Weirdest track: Carnies. And you can tell the concept feel is really present on the first 6 songs here. The strangeness structure of Carnies makes me feel them going into a Dream Theater-esque interlude like Scenes From A Memory. 7 Cities is another weird one. The main riff reminds me of a Load-era Metallica riff but in a good way. The guitar riffage is good here but Geddy's vocals kind of suffer. They probably won't play this one live all that much which would be a shame if ture. The 3rd single: Sweet Mirac..I mean the Wreckers. For sure. They play this one live definitely. I'm confused about the 5 song segment which is supposed to be Clockwork Angels Five/Suite. Carnies sounds like its part of the 5 song suite, then you add the Anarchist and Headlong Flight along with the first 3 songs, you get six. So there's more songs on here that are interlinked than previously believed.

There is no more 5 song suite, that was going to be the whole story at the time. It's a 12 song story now instead of 5.

[MUSICinTheABsTrAcT]

Edited June 4, 2012 by MUSICinTheABsTrAcT

[ColdFireYYZ]

Holy shit...the piano part of The Garden just ended. This may be one of my favorite Rush songs ever, its that good.

[Unattractive Truth]

QUOTE (ColdFireYYZ @ Jun 4 2012, 03:14 PM)

Holy shit...the piano part of The Garden just ended. This may be one of my favorite Rush songs ever, its that good.

Yeah, that's some good stuff right there.

 

[dtpoet]

UGH!

 

Worked until 4pm. Raced home - only to find the leak - well - plugged.

 

So basically - I hate you all. JK.

 

I've managed to get a few poor quality copies from - er - a "community" site just before the PLUMBERS posted this; "Rush - The Wreckers. This video is no longer available due to a copyright claim by Warner Music Group."

 

Man, am I disappointed. I was jazzed all day. Been a Rush fan since the 8th grade (1981) and I haven't been so excited about a release in a very long time. I know. I know. It will only be a week more. But knowing that others beat the plumbers to the plungers - kind of sucks.

 

Kind of like standing outside in the bushes, watching through the living room window while your family and friends celebrate at your birthday party.

 

UGH!

Edited June 4, 2012 by dtpoet

[danielmclark]

QUOTE (dtpoet @ Jun 4 2012, 04:16 PM)

UGH! Worked until 4pm. Raced home - only to find the leak - well - plugged. So basically - I hate you all. JK. I've managed to get a few poor quality copies from - er - a "community" site just before the PLUMBERS posted this; "Rush - The Wreckers. This video is no longer available due to a copyright claim by Warner Music Group." Man, am I disappointed. I was jazzed all day. Been a Rush fan since the 8th grade (1981) and I haven't been so excited about a release in a very long time. I know. I know. It will only be a week more. But knowing that others beat the plumbers to the plungers - kind of sucks. Kind of like standing outside in the bushes, watching through the living room window while your family and friends celebrate at your birthday party. UGH!

It'll spread. If it's not available at a dozen sites or more by morning, I'll be surprised.

[Lerxster]

QUOTE (Gedneil Alpeart @ Jun 4 2012, 04:59 PM)

QUOTE (James_G @ Jun 4 2012, 03:11 PM) Thanks to the guy who provided the link for this album (obligatory note: of course I'm paying for the CD too!). My overall impression: it's vastly better than the last three albums, and furthermore unlike every other Rush album since Power Windows, there are no genuinely poor, half-hearted songs on Clockwork Angels. There is no tail end of mediocrity, no shortage of ideas and energy, no...Dog Years. It's debatable whether the stronger songs on the new album are better than (or in particular, as well-formed as) the best songs from other albums in this period: Mission, The Pass, Ghost Rider et cetera. Debatable...after a few listens, I would say that The Anarchist, Clockwork Angels and The Garden in particular are strong candidates for best Rush song since Power Windows. The album is very dense with ideas and rhythms (this is why some of the samples gave a poor impression of the music - most of these songs are based at heart around sustained rhythmic motion). If anything is lacking over the album as a whole, it's the careful arrangement of these ideas into elegantly formed songs ("The Garden" being a notable exception) but the music is all there. The character of thrusting energy exhibited by several of the songs on Clockwork Angels is similar to that of songs like "Ceiling Unlimited" from Vapor Trails, only the musical ideas, chord progressions, vocal melodies, hooks etc. herein are much better. Note that most of the songs take multiple listens to absorb fully - it's also well worth listening to this superbly-produced album with headphones. Track-by-track: Caravan: This is very slightly improved, with some added phaser effects being the most significant change. BU2B: The new introduction is a little tacked-on but makes the start of the piece less jarring - another slight improvement to an already good song. Clockwork Angels: I'm really surprised that some people don't like this one, because it's the proggiest cut and a highlight of the album. The verse sections feature a bass rhythm and sustained chords reminiscent of the bridge from Digital Man, and these are interchanged with driving riffs a la Double Agent. Something that stands out in this piece and others on Clockwork Angels is that Alex's solo is actually given space and prominence within the structure of the song, rather than being perfunctory and stuffed in the background. This is a complicated song with a lot of different sections, but it's no different to (say) Natural Science in that respect; there's a current of energy running through it that holds it together. The Anarchist: Neil's switches between a loose African drumming style and his usual rock style to great effect in this cut. Again, there's a lot of different ideas in this song apart from the opening riff; in particular, there's a recurring motif that sounds just like something from Permanent Waves or Moving Pictures, and it's undergirded by a warm analogue-sounding synth wash to boot. It reminds me in particular of Jacob's Ladder. Really melodic vocal lines with flowing lyrics, and some Eastern-sounding strings woven in effectively. A guitar solo towards the end of The Anarchist is reminiscent of both Rainbow's The Gates of Babylon and Tool's Third Eye. This is a brilliant song, particularly on repeat listening. Carnies: The fifth whiplash-inducing song in a row. The bass joins in with that awesome guitar riff, only to make way for an evocative, exotic rising motif. The verses feature a chord progression reminiscent of Max Webster's Night Flights with a guitar figure similar to the bridge from The Trees. Really creative bass playing, too. There's some of that power-chord jamming from Secret Touch, Earthshine etc., but it's a lot cleaner-sounding and more balanced here - and it works better over Neil's new African drumming patterns. Halo Effect: In short, the verses are similar to Nobody's Hero, and the choruses are almost a direct lift from the verses of Half the World. In common with Half the World, this piece also features a mandolin section. Despite it being a little self-derivative, the album benefits from the inclusion of a slower song at this point, and the production of the strings and acoustic guitar is excellent. Seven Cities of Gold: Primus-style bass theatrics from Geddy at the start. This builds to a snaking, Zeppelinesque riff shared by Geddy and Alex that winds its way and surfaces repeatedly throughout the song. Another catchy chorus, and at some point Alex gets to scream and solo over the crazy bass lines from the intro. Parts of this have a classic rock feel, there's red hot jamming and also a few characteristically modern Rush elements present. The Wreckers: The intro, which is reiterated later in the song, is pure mid-90s alt-rock; however, the heart of The Wreckers is in the contemplative strummed chord progression of the verses, and even more so in its haunting, melodic chorus. The song, which also features an ominous Pink Floydian bridge, seems like a much more successful realisation of what Rush were aiming for with songs like Spindrift, Faithless and Bravest Faith. Headlong Flight: Still good. BU2B2: This seems to be a nod to the soliloquy section of 2112 - with a more optimistic outcome. It also adds a little credence to Clockwork Angels's status as a "concept album". The pulsating string rhythm is unsettling in a similar way to the outro of I am the Walrus, and ominous synth noises rumble in sonic space below the string ensemble. It's more or less a purely rhythmic track of an atmospheric nature. Wish Them Well: This is a deliberately straightforward anthemic rock song, alternating between strident major chords and a rising figure mildly reminiscent of The Pass. The bridge section bears a passing resemblance to the verses of Grand Designs. Despite it being a generally simple piece, a brief jam session breaks out in the middle of Wish Them Well to provide Alex with an opportunity to solo. It's a little clumsy perhaps, but this piece has an infectious, high-spirited and bold simplicity that makes it a worthwhile addition to the album. The Garden: Dolorous bass harmonics backed by fluttering strings introduce the album's concluding song. The acoustic verses are wistful, with a harsh edge imparted by the string ensemble; the chorus is abruptly melancholy. Geddy's voice conveys the meaning of the song beautifully, particularly when duetting with a piano in the fragile bridge. Alex produces a well-measured solo. The overcast but hopeful tone harks back to Different Strings, but the pain is much darker - "the hours tick away, the cells tick away", if I hear that correctly, is a particularly sad line. This is the fitting conclusion to a late classic album from Rush. Now THIS is what I call a REVIEW!! Great analysis and obs. Yes, excellent! And I haven't heard the album either. Real good reading. Welcome to the board, James   I was thinking of starting a thread for full album reviews only, so reviews like this and the other nice ones I've seen don't get so lost in a big thread like this.

[anchorman]

Can someone kindly pm me a link ?

 

Thanks

[ReflectedLight]

top 4 on the album for me in no specific order,

carnies, seven cities, anarchist, headlong flight

[treeduck]

QUOTE (jesse2112 @ Jun 4 2012, 02:28 PM)

QUOTE (1-0-0-1-0-0-1 @ Jun 4 2012, 02:53 PM) QUOTE (jesse2112 @ Jun 4 2012, 02:51 PM) QUOTE (1-0-0-1-0-0-1 @ Jun 4 2012, 02:47 PM) QUOTE (Unattractive Truth @ Jun 4 2012, 02:46 PM) QUOTE (1-0-0-1-0-0-1 @ Jun 4 2012, 11:45 AM) QUOTE (jesse2112 @ Jun 4 2012, 02:42 PM) Where did you guys find it? I'm sure you can find it on your own. Don't look for any help here. We're not allowed to point you in that direction.   http://www.therushforum.com/index.php?showtopic=74499 Dude you're going to have a busy day.     Yeah, no shit! Glad I have the day off from work. Nvrmind found it! Haha I'll alert the media. I should prolly stop comin around here Brolly? Is it raining?

[The Cat 3]

Damn Treeduck...

 

I just noticed that you passed 30,000 posts.

 

I think Rush should play in your backyard for that one!

 

And Neil should share his Pepperidge Farms' Nantucket Cookies with you.

 

Congrats!

[cygnify]

Are we witnessing the most widely liked Rush album since 1985? 81? Even the haters seem to be giving props!

 

I'll never forget my first listen to HYF with some of my rocker buddies. First chorus of Time Stand Still hit and some of them left the room - never to return to their Rush fandom... but I'd bet if they gave CA a chance, they'd be back!

 

Clockwork Angels = the future as imagined from the past => what I would have thought in 1981 that the band might sound like in 2012

[nappy2112]

I usually hate new Rush albums till I get used to them but so far it's pretty good.

[GlobalObserver]

On my second listen now. I really love this album!

[ThinkingBig]

QUOTE (James_G @ Jun 4 2012, 03:11 PM)

Thanks to the guy who provided the link for this album (obligatory note: of course I'm paying for the CD too!). My overall impression: it's vastly better than the last three albums, and furthermore unlike every other Rush album since Power Windows, there are no genuinely poor, half-hearted songs on Clockwork Angels. There is no tail end of mediocrity, no shortage of ideas and energy, no...Dog Years. It's debatable whether the stronger songs on the new album are better than (or in particular, as well-formed as) the best songs from other albums in this period: Mission, The Pass, Ghost Rider et cetera. Debatable...after a few listens, I would say that The Anarchist, Clockwork Angels and The Garden in particular are strong candidates for best Rush song since Power Windows. The album is very dense with ideas and rhythms (this is why some of the samples gave a poor impression of the music - most of these songs are based at heart around sustained rhythmic motion). If anything is lacking over the album as a whole, it's the careful arrangement of these ideas into elegantly formed songs ("The Garden" being a notable exception) but the music is all there. The character of thrusting energy exhibited by several of the songs on Clockwork Angels is similar to that of songs like "Ceiling Unlimited" from Vapor Trails, only the musical ideas, chord progressions, vocal melodies, hooks etc. herein are much better. Note that most of the songs take multiple listens to absorb fully - it's also well worth listening to this superbly-produced album with headphones. Track-by-track: Caravan: This is very slightly improved, with some added phaser effects being the most significant change. BU2B: The new introduction is a little tacked-on but makes the start of the piece less jarring - another slight improvement to an already good song. Clockwork Angels: I'm really surprised that some people don't like this one, because it's the proggiest cut and a highlight of the album. The verse sections feature a bass rhythm and sustained chords reminiscent of the bridge from Digital Man, and these are interchanged with driving riffs a la Double Agent. Something that stands out in this piece and others on Clockwork Angels is that Alex's solo is actually given space and prominence within the structure of the song, rather than being perfunctory and stuffed in the background. This is a complicated song with a lot of different sections, but it's no different to (say) Natural Science in that respect; there's a current of energy running through it that holds it together. The Anarchist: Neil's switches between a loose African drumming style and his usual rock style to great effect in this cut. Again, there's a lot of different ideas in this song apart from the opening riff; in particular, there's a recurring motif that sounds just like something from Permanent Waves or Moving Pictures, and it's undergirded by a warm analogue-sounding synth wash to boot. It reminds me in particular of Jacob's Ladder. Really melodic vocal lines with flowing lyrics, and some Eastern-sounding strings woven in effectively. A guitar solo towards the end of The Anarchist is reminiscent of both Rainbow's The Gates of Babylon and Tool's Third Eye. This is a brilliant song, particularly on repeat listening. Carnies: The fifth whiplash-inducing song in a row. The bass joins in with that awesome guitar riff, only to make way for an evocative, exotic rising motif. The verses feature a chord progression reminiscent of Max Webster's Night Flights with a guitar figure similar to the bridge from The Trees. Really creative bass playing, too. There's some of that power-chord jamming from Secret Touch, Earthshine etc., but it's a lot cleaner-sounding and more balanced here - and it works better over Neil's new African drumming patterns. Halo Effect: In short, the verses are similar to Nobody's Hero, and the choruses are almost a direct lift from the verses of Half the World. In common with Half the World, this piece also features a mandolin section. Despite it being a little self-derivative, the album benefits from the inclusion of a slower song at this point, and the production of the strings and acoustic guitar is excellent. Seven Cities of Gold: Primus-style bass theatrics from Geddy at the start. This builds to a snaking, Zeppelinesque riff shared by Geddy and Alex that winds its way and surfaces repeatedly throughout the song. Another catchy chorus, and at some point Alex gets to scream and solo over the crazy bass lines from the intro. Parts of this have a classic rock feel, there's red hot jamming and also a few characteristically modern Rush elements present. The Wreckers: The intro, which is reiterated later in the song, is pure mid-90s alt-rock; however, the heart of The Wreckers is in the contemplative strummed chord progression of the verses, and even more so in its haunting, melodic chorus. The song, which also features an ominous Pink Floydian bridge, seems like a much more successful realisation of what Rush were aiming for with songs like Spindrift, Faithless and Bravest Faith. Headlong Flight: Still good. BU2B2: This seems to be a nod to the soliloquy section of 2112 - with a more optimistic outcome. It also adds a little credence to Clockwork Angels's status as a "concept album". The pulsating string rhythm is unsettling in a similar way to the outro of I am the Walrus, and ominous synth noises rumble in sonic space below the string ensemble. It's more or less a purely rhythmic track of an atmospheric nature. Wish Them Well: This is a deliberately straightforward anthemic rock song, alternating between strident major chords and a rising figure mildly reminiscent of The Pass. The bridge section bears a passing resemblance to the verses of Grand Designs. Despite it being a generally simple piece, a brief jam session breaks out in the middle of Wish Them Well to provide Alex with an opportunity to solo. It's a little clumsy perhaps, but this piece has an infectious, high-spirited and bold simplicity that makes it a worthwhile addition to the album. The Garden: Dolorous bass harmonics backed by fluttering strings introduce the album's concluding song. The acoustic verses are wistful, with a harsh edge imparted by the string ensemble; the chorus is abruptly melancholy. Geddy's voice conveys the meaning of the song beautifully, particularly when duetting with a piano in the fragile bridge. Alex produces a well-measured solo. The overcast but hopeful tone harks back to Different Strings, but the pain is much darker - "the hours tick away, the cells tick away", if I hear that correctly, is a particularly sad line. This is the fitting conclusion to a late classic album from Rush.

I read over your very well written and thoughtful review while listening to each song. You certainly seem to have a great understanding and knowledge of the various musical genres that overlap in RUSH music + I'm guessing you're a musician.

 

As you referenced several earlier RUSH songs, I kept thinking about the filmmaker who remakes the same film over and over. I see this when watching movies by a particular filmmaker; the favorite shot, the favorite cutting style, the tones and the colors that filmmakers uses to perfect an idea over the course of a career.

 

It was great to have you articulate this idea with very specific songs by RUSH and other artists that have influenced them. I like how you put it, they were 'aiming for' with previous efforts. I hear the music, and I know that I'm listening to a very polished composition that has built upon earlier efforts, but you fleshed out the specifics so well. Thanks.

 

For me, the writer who only 'plays at' drums (and now Ukulele) I'm very much looking forward to seeing a lyric sheet, reading them over w/o music and looking back at similar themes and ideas NP has explored in the past.

 

The album cover is so stark and reveals so little of what's inside--as opposed to MP, PeW for example. But the 2112 cover didn't tell us much. Let's hope we don't find them wearing robes inside.

[lifeson90]

OMFG just gave seven cities a listen

 

OMG luvin it

 

there's gotta be a little COS in Al's sound there

 

---------

 

just gave wish them well a good listen OMG Al around the 3.10 mark like creammms it... great track

Edited June 4, 2012 by lifeson90

[Union 5-3992]

On my first listen, onward through The Anarchist

[ReflectedLight]

QUOTE (ThinkingBig @ Jun 4 2012, 05:40 PM)

There is no tail end of mediocrity, no shortage of ideas and energy, no...Dog Years.

i disagree. some of the songs drag to me and some of us like dog years.

[D3strukt]

QUOTE (ReflectedLight @ Jun 4 2012, 05:45 PM)

There is no tail end of mediocrity, no shortage of ideas and energy, no...Dog Years.

i disagree. some of the songs drag to me and some of us like dog years.

You are DEFINITLEY in a TINY minority of about 4 or 5 people.