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Clockwork Angels sucks....


Terrapin
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My God, why bump this turd-fest? :facepalm:

 

On a more productive note :eyeroll: , I've recently found that CA sounds much better and clearer if you simply lower your bass and volume settings a couple clicks down from your normal settings. CA is unfortunately mastered too hot and with way too much bass, IMO, but these simple adjustments make it sound much clearer to my ears.

 

But songwise, I just don't get how Rush fans could hate tunes like The Anarchist, CA, Seven Cities, The Garden, etc. Seriously? :huh:

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I wouldn't go as far as saying it sucks but I'm not that impressed with it. The storyline is interesting but the music itself....lyrics, structure, guitar riffs, vocals, mix......just don't do much for me or stick in my head after listening. It's better than the depressing boring Snakes but I don't consider it The Greatest Album Ever like many other Rush fans do. A reviewer on Amazon put it best....CA sounds like a Rush tribute band that decided to write their own original material. If Geddy still had good pipes and the album wasn't produced in the modern way, that is a ton of cut and paste overdubs with a dense muddy sound (not as bad as VT but still very loud). I'd like it more. As of now it's another drink coaster taking up space in my CD rack.

 

You keep drink coasters in your cd rack? Wouldn't it be better to have 'em on, say, a coffee table, where they can serve out their designated purpose?

 

Ok, that was a bit facetious! And cool that you have your own opinion of CA, and are not jumping on any bandwagon or anything. I agree that the sound isn't the best it could be - it could be clearer - but these ears don't mind the slight muddiness, if we can describe it as such. That was a weird comment about this album sounding like a tribute band... I would never have thought of it this way!

 

I hate to ride this theme but the more one listens to CA the less muddy it sounds. Maybe it's just because I play it a lot, but the sound mixing doesn't bother me now the way it did in the early stages of listening to it. A Rush tribute band could only dream of putting an album together like this.

 

I was thinking a bit more about this last night, as I'd read the tribute band comparison thing right before going to bed. I don't like it. I think it's derogatory to Rush, even if it's just someone's opinion. It just seems that some people want to make a fancy-sounding label for things, to sound all witty and hip and knowledgeable yet a bit irreverant.

 

For the record (heh!), I'm not concerned with any sound issues, but I can see (hear?) that some people might be.

 

I think the songs are catchy, and have some really great riffage. The opening of 'The Anarchist' still gives me shivers!

 

What whoever it was that made that remark meant was that Rush sounds like they're trying too hard to sound like their old hard-rock selves on CA. There's more to writing a good song then just coming up with some heavy riffs and parts, gluing them together and spraying the lyrics on top like icing on a cake. That's unfortunatly what I feel Rush has been doing more and more starting with Test For Echo. And I really wasn't too keen on the deliberate Bastille Day homage in the beginning of Headlong Flight. It doesn't sound bad, it's just something an old band shouldn't do, referencing themselves. Makes them sound like they're out of ideas. Metallica had a song on Death Magnetic, can't remember which one, that just sounded like they recycled every old riff they already did 25 years ago and shoehorned them all into a "new" song.

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I honestly haven't listed to CA as much as I get the feeling many of you have... but, holy smokes, I think it's a great album! Not their best, I don't think, but damn good. Right up there with their best whatever that is.

 

I still haven't heard the similarities between one of their songs and Bastille Day. I heard Geddy mention that too, about Bastille Day, on an interview. But, I still haven't noticed it. I've listened to the whole album four or five times...

 

Someone mentioned that the mix seems "bass heavy." I think I agree with that... maybe I have shitty speakers in my truck, which where I do most of my listening. Or, my ears are getting all shitted up. Maybe I need to start using earplugs when I'm running my chainsaw... eh? ("Eh." The Canadian version of the Amercian "huh?")

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I still haven't heard the similarities between one of their songs and Bastille Day. I heard Geddy mention that too, about Bastille Day, on an interview. But, I still haven't noticed it. I've listened to the whole album four or five times.

 

TBR, only four or five times?

 

Anyway, listen to Headlong Flight for the Bastille Day similarities. :haz:

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I still haven't heard the similarities between one of their songs and Bastille Day. I heard Geddy mention that too, about Bastille Day, on an interview. But, I still haven't noticed it. I've listened to the whole album four or five times.

 

TBR, only four or five times?

 

Anyway, listen to Headlong Flight for the Bastille Day similarities. :haz:

 

Yes; it's a quick little two-punch higher-pitched bass 'drum roll' kind of noodle. Holy cow, does this sentence make sense to anyone? Once you hear it, you'll always hear it!

 

And I'm with jnoble on the idea of using self-homage.... It's a neat little bass lick, but it's already been done. Just because they have the freedom to go backwards and use cool licks again doesn't mean that they have to. I'd be more respectful of new ideas rather than revisiting old stuff, no matter how good old stuff is; this is one of the facets of Rush that I most appreciate - being progressive in the true sense of the word.

 

And I don't know about the songs sounding cut 'n' paste, as some people have mentioned. Maybe if I worked with music this kind of way, I'd be more knowledgeable about this kind of thing, but for my more pedestrian ears, the songs sound good. There's more of a verse-chorus-verse thing going on than has been the case in the past, but these songs are catchy because of it, and translate terrifically live.

 

But, ya know, their music writing system doesn't seem to be the most organic - it seems that lyrics get matched up with the most suitable guitar jams and this gets expanded on, choosing the best jams and riffs out of many recorded. This does sound like something that would be cut-and-pasted in the creation of the songs.

 

But regardless of how the songs are made, the end results are pretty darn good! If (and very hopefully not!) this ends up being Rush's last studio album, it would be a heck of a way to go, and would be much more impressive to end on than, say, Snakes and Arrows (good as it is).

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I still haven't heard the similarities between one of their songs and Bastille Day. I heard Geddy mention that too, about Bastille Day, on an interview. But, I still haven't noticed it. I've listened to the whole album four or five times.

 

TBR, only four or five times?

 

Anyway, listen to Headlong Flight for the Bastille Day similarities. :haz:

 

 

Okay six times... I just listened to it again this morning while I was gathering the ingredients and required cooking vessels for the "Cinncinnati Chili" that Cygnus Gal put up on another thread.

 

And, I do offer my sincere appology for having owned CA since the day it came out, but having only listened to it "four or five" times. To make it up to everyone, when the next album comes out (WHEN not if, goddam it!) I'll listen to it "four or five" times the first day.

 

Then, I'll go and make some of either Janie's or Cygnus' chili. After that, I'll go take a BIG dump.

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I still haven't heard the similarities between one of their songs and Bastille Day. I heard Geddy mention that too, about Bastille Day, on an interview. But, I still haven't noticed it. I've listened to the whole album four or five times.

 

TBR, only four or five times?

 

Anyway, listen to Headlong Flight for the Bastille Day similarities. :haz:

 

Yes; it's a quick little two-punch higher-pitched bass 'drum roll' kind of noodle. Holy cow, does this sentence make sense to anyone? Once you hear it, you'll always hear it!

 

And I'm with jnoble on the idea of using self-homage.... It's a neat little bass lick, but it's already been done. Just because they have the freedom to go backwards and use cool licks again doesn't mean that they have to. I'd be more respectful of new ideas rather than revisiting old stuff, no matter how good old stuff is; this is one of the facets of Rush that I most appreciate - being progressive in the true sense of the word.

 

And I don't know about the songs sounding cut 'n' paste, as some people have mentioned. Maybe if I worked with music this kind of way, I'd be more knowledgeable about this kind of thing, but for my more pedestrian ears, the songs sound good. There's more of a verse-chorus-verse thing going on than has been the case in the past, but these songs are catchy because of it, and translate terrifically live.

 

But, ya know, their music writing system doesn't seem to be the most organic - it seems that lyrics get matched up with the most suitable guitar jams and this gets expanded on, choosing the best jams and riffs out of many recorded. This does sound like something that would be cut-and-pasted in the creation of the songs.

 

But regardless of how the songs are made, the end results are pretty darn good! If (and very hopefully not!) this ends up being Rush's last studio album, it would be a heck of a way to go, and would be much more impressive to end on than, say, Snakes and Arrows (good as it is).

 

 

Just LOVE reading that Mika's posts! I think she should apply for a job as communications director / staff writer for the band. (I'll give Ray Danniels a call on Monday and arrange an interview.)

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I still haven't heard the similarities between one of their songs and Bastille Day. I heard Geddy mention that too, about Bastille Day, on an interview. But, I still haven't noticed it. I've listened to the whole album four or five times.

 

TBR, only four or five times?

 

Anyway, listen to Headlong Flight for the Bastille Day similarities. :haz:

 

 

Okay six times... I just listened to it again this morning while I was gathering the ingredients and required cooking vessels for the "Cinncinnati Chili" that Cygnus Gal put up on another thread.

 

And, I do offer my sincere appology for having owned CA since the day it came out, but having only listened to it "four or five" times. To make it up to everyone, when the next album comes out (WHEN not if, goddam it!) I'll listen to it "four or five" times the first day.

 

Then, I'll go and make some of either Janie's or Cygnus' chili. After that, I'll go take a BIG dump.

I can't believe you've listened to Clockwork Angels a handful of times...my god man what is wrong with you?
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I still haven't heard the similarities between one of their songs and Bastille Day. I heard Geddy mention that too, about Bastille Day, on an interview. But, I still haven't noticed it. I've listened to the whole album four or five times.

 

TBR, only four or five times?

 

Anyway, listen to Headlong Flight for the Bastille Day similarities. :haz:

 

 

Okay six times... I just listened to it again this morning while I was gathering the ingredients and required cooking vessels for the "Cinncinnati Chili" that Cygnus Gal put up on another thread.

 

And, I do offer my sincere appology for having owned CA since the day it came out, but having only listened to it "four or five" times. To make it up to everyone, when the next album comes out (WHEN not if, goddam it!) I'll listen to it "four or five" times the first day.

 

Then, I'll go and make some of either Janie's or Cygnus' chili. After that, I'll go take a BIG dump.

 

Well, I hope you won't be listening to Rush at the same time, since it might lead way to a subconscious connection, and that would just lead to bad things to my mind....

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I still haven't heard the similarities between one of their songs and Bastille Day. I heard Geddy mention that too, about Bastille Day, on an interview. But, I still haven't noticed it. I've listened to the whole album four or five times.

 

TBR, only four or five times?

 

Anyway, listen to Headlong Flight for the Bastille Day similarities. :haz:

 

Yes; it's a quick little two-punch higher-pitched bass 'drum roll' kind of noodle. Holy cow, does this sentence make sense to anyone? Once you hear it, you'll always hear it!

 

And I'm with jnoble on the idea of using self-homage.... It's a neat little bass lick, but it's already been done. Just because they have the freedom to go backwards and use cool licks again doesn't mean that they have to. I'd be more respectful of new ideas rather than revisiting old stuff, no matter how good old stuff is; this is one of the facets of Rush that I most appreciate - being progressive in the true sense of the word.

 

And I don't know about the songs sounding cut 'n' paste, as some people have mentioned. Maybe if I worked with music this kind of way, I'd be more knowledgeable about this kind of thing, but for my more pedestrian ears, the songs sound good. There's more of a verse-chorus-verse thing going on than has been the case in the past, but these songs are catchy because of it, and translate terrifically live.

 

But, ya know, their music writing system doesn't seem to be the most organic - it seems that lyrics get matched up with the most suitable guitar jams and this gets expanded on, choosing the best jams and riffs out of many recorded. This does sound like something that would be cut-and-pasted in the creation of the songs.

 

But regardless of how the songs are made, the end results are pretty darn good! If (and very hopefully not!) this ends up being Rush's last studio album, it would be a heck of a way to go, and would be much more impressive to end on than, say, Snakes and Arrows (good as it is).

 

 

Just LOVE reading that Mika's posts! I think she should apply for a job as communications director / staff writer for the band. (I'll give Ray Danniels a call on Monday and arrange an interview.)

 

Thanks, TBR! Something involving writing and the band would be such a fabulous thing to do!

 

Oh, and FYI, it just so happens that your post number as of right now (421) is my favourite number! How cool!

 

And no, I'm not some crazy herb lover that can't count.... ;)

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I still haven't heard the similarities between one of their songs and Bastille Day. I heard Geddy mention that too, about Bastille Day, on an interview. But, I still haven't noticed it. I've listened to the whole album four or five times.

 

TBR, only four or five times?

 

Anyway, listen to Headlong Flight for the Bastille Day similarities. :haz:

 

Yes; it's a quick little two-punch higher-pitched bass 'drum roll' kind of noodle. Holy cow, does this sentence make sense to anyone? Once you hear it, you'll always hear it!

 

And I'm with jnoble on the idea of using self-homage.... It's a neat little bass lick, but it's already been done. Just because they have the freedom to go backwards and use cool licks again doesn't mean that they have to. I'd be more respectful of new ideas rather than revisiting old stuff, no matter how good old stuff is; this is one of the facets of Rush that I most appreciate - being progressive in the true sense of the word.

 

And I don't know about the songs sounding cut 'n' paste, as some people have mentioned. Maybe if I worked with music this kind of way, I'd be more knowledgeable about this kind of thing, but for my more pedestrian ears, the songs sound good. There's more of a verse-chorus-verse thing going on than has been the case in the past, but these songs are catchy because of it, and translate terrifically live.

 

But, ya know, their music writing system doesn't seem to be the most organic - it seems that lyrics get matched up with the most suitable guitar jams and this gets expanded on, choosing the best jams and riffs out of many recorded. This does sound like something that would be cut-and-pasted in the creation of the songs.

 

But regardless of how the songs are made, the end results are pretty darn good! If (and very hopefully not!) this ends up being Rush's last studio album, it would be a heck of a way to go, and would be much more impressive to end on than, say, Snakes and Arrows (good as it is).

c

 

If the homage was something used as crutch or in place of having nothing else I would see your point but otherwise I have no issue with it. For goodness sake's it's a handful of passages on the album that's over an hour long. Why would anyone want to negatively focus on it? To me the homage is a wink wink moment, reminding us that as serious as Rush is about their music, they don't take themselves too seriously. Or maybe they just thought it was interesting and people might like it.

 

I can pick out another moment for those who like to pick lol. The background tracking near the later part of The Wreckers is close to Silent Lucidity from Queensryche.

Edited by calirush
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I honestly haven't listed to CA as much as I get the feeling many of you have... but, holy smokes, I think it's a great album! Not their best, I don't think, but damn good. Right up there with their best whatever that is.

 

I still haven't heard the similarities between one of their songs and Bastille Day. I heard Geddy mention that too, about Bastille Day, on an interview. But, I still haven't noticed it. I've listened to the whole album four or five times...

 

Someone mentioned that the mix seems "bass heavy." I think I agree with that... maybe I have shitty speakers in my truck, which where I do most of my listening. Or, my ears are getting all shitted up. Maybe I need to start using earplugs when I'm running my chainsaw... eh? ("Eh." The Canadian version of the Amercian "huh?")

 

Its not your truck speakers or your ears. Its how it sounds. Other than that its a pretty good album.

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I have not listened to CA in months. While there are some cuts that are outstanding. I can'tsee the album as a whole going down as a classic. Some real mediocre tracks drag it down, IMO. only time will tell i guess. I could be way off base.

 

Mick

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I love these. Very entertaining.

 

I am going to be completely honest. I don't listen to the album as much as others, but I can hear individual instruments and vocals fine.

 

In fact, it is spinning on my turntable now. Yeah, I'm one of those.

 

The first time I got chills from a Rush album was when I heard Natural Science. These moments continued through HYF. Witch Hunt, the solo break in YYZ, Analog Kid, Between the Wheels, Territories bass break, Middletown Dreams, Open Secrets, Tai Shan...ok, I was kidding on that last one.

 

The first time I was disappointed by Rush was Superconductor. There were great moments on all the ensuing albums but no chills. Then again, I wasn't a kid anymore. Maybe that was it. Fast forward...

 

The first time I heard Headlong Flight I got a big grin on my face. The rest of the album was great as well. There was one tune I could take or leave (WTW) but for the most part, I really like the album. Also, when I hear that build-up in the song Clockwork Angels, I got chills. Still do. Gonna be 42 next week. Like a kid I get excited.

 

As a bass player, I would learn all of Geddy's parts. I would spend days not only copping the lick, but the feel as well. Last tune I learned that way was Prime Mover. I dabbled with the solo section on Show Don't Tell and a couple of riffs off Counterparts, but no songs. I have found myself trying to cop Geddy's licks off this album.

 

So, Terrapin (I love the Dead as well), I respectively disagree with you in that in five years time or maybe ten years time I will still enjoy this album. Maybe not as much as Signals, MP, or PoW, but more than others.

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I still haven't heard the similarities between one of their songs and Bastille Day. I heard Geddy mention that too, about Bastille Day, on an interview. But, I still haven't noticed it. I've listened to the whole album four or five times.

 

TBR, only four or five times?

 

Anyway, listen to Headlong Flight for the Bastille Day similarities. :haz:

 

Yes; it's a quick little two-punch higher-pitched bass 'drum roll' kind of noodle. Holy cow, does this sentence make sense to anyone? Once you hear it, you'll always hear it!

 

And I'm with jnoble on the idea of using self-homage.... It's a neat little bass lick, but it's already been done. Just because they have the freedom to go backwards and use cool licks again doesn't mean that they have to. I'd be more respectful of new ideas rather than revisiting old stuff, no matter how good old stuff is; this is one of the facets of Rush that I most appreciate - being progressive in the true sense of the word.

 

And I don't know about the songs sounding cut 'n' paste, as some people have mentioned. Maybe if I worked with music this kind of way, I'd be more knowledgeable about this kind of thing, but for my more pedestrian ears, the songs sound good. There's more of a verse-chorus-verse thing going on than has been the case in the past, but these songs are catchy because of it, and translate terrifically live.

 

But, ya know, their music writing system doesn't seem to be the most organic - it seems that lyrics get matched up with the most suitable guitar jams and this gets expanded on, choosing the best jams and riffs out of many recorded. This does sound like something that would be cut-and-pasted in the creation of the songs.

 

But regardless of how the songs are made, the end results are pretty darn good! If (and very hopefully not!) this ends up being Rush's last studio album, it would be a heck of a way to go, and would be much more impressive to end on than, say, Snakes and Arrows (good as it is).

c

 

If the homage was something used as crutch or in place of having nothing else I would see your point but otherwise I have no issue with it. For goodness sake's it's a handful of passages on the album that's over an hour long. Why would anyone want to negatively focus on it? To me the homage is a wink wink moment, reminding us that as serious as Rush is about their music, they don't take themselves too seriously. Or maybe they just thought it was interesting and people might like it.

 

I can pick out another moment for those who like to pick lol. The background tracking near the later part of The Wreckers is close to Silent Lucidity from Queensryche.

 

I see what you mean - and mostly, I agree with you! I understand and like that it's done kind of tongue-in-cheekily. I've been thinking about why it just doesn't do that much for me (and then thought I should maybe start thinking about others things, like work), and think the reasons I gave kind of stand, for me. To my ears, it's been done. But, hey, it does sound kind of cool, and it's not at all a problem, and not something that should be negatively focused on, so I'll just move on from this.

 

And I've noticed there's still not that much love for 'Wish Them Well'.... What is it? The repeating high-pitched Geddys (this has been mentioned before)? This is the first song from CA that stood out for me, and I still love it. But, still goes to show that tastes vary so much!

 

Oh, and mcgtr71 - I like that you get thrills from the album. I still get shivers during some of these songs, and I like that my body responds this way!

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I still haven't heard the similarities between one of their songs and Bastille Day. I heard Geddy mention that too, about Bastille Day, on an interview. But, I still haven't noticed it. I've listened to the whole album four or five times.

 

TBR, only four or five times?

 

Anyway, listen to Headlong Flight for the Bastille Day similarities. :haz:

 

Yes; it's a quick little two-punch higher-pitched bass 'drum roll' kind of noodle. Holy cow, does this sentence make sense to anyone? Once you hear it, you'll always hear it!

 

And I'm with jnoble on the idea of using self-homage.... It's a neat little bass lick, but it's already been done. Just because they have the freedom to go backwards and use cool licks again doesn't mean that they have to. I'd be more respectful of new ideas rather than revisiting old stuff, no matter how good old stuff is; this is one of the facets of Rush that I most appreciate - being progressive in the true sense of the word.

 

And I don't know about the songs sounding cut 'n' paste, as some people have mentioned. Maybe if I worked with music this kind of way, I'd be more knowledgeable about this kind of thing, but for my more pedestrian ears, the songs sound good. There's more of a verse-chorus-verse thing going on than has been the case in the past, but these songs are catchy because of it, and translate terrifically live.

 

But, ya know, their music writing system doesn't seem to be the most organic - it seems that lyrics get matched up with the most suitable guitar jams and this gets expanded on, choosing the best jams and riffs out of many recorded. This does sound like something that would be cut-and-pasted in the creation of the songs.

 

But regardless of how the songs are made, the end results are pretty darn good! If (and very hopefully not!) this ends up being Rush's last studio album, it would be a heck of a way to go, and would be much more impressive to end on than, say, Snakes and Arrows (good as it is).

c

 

If the homage was something used as crutch or in place of having nothing else I would see your point but otherwise I have no issue with it. For goodness sake's it's a handful of passages on the album that's over an hour long. Why would anyone want to negatively focus on it? To me the homage is a wink wink moment, reminding us that as serious as Rush is about their music, they don't take themselves too seriously. Or maybe they just thought it was interesting and people might like it.

 

I can pick out another moment for those who like to pick lol. The background tracking near the later part of The Wreckers is close to Silent Lucidity from Queensryche.

 

I see what you mean - and mostly, I agree with you! I understand and like that it's done kind of tongue-in-cheekily. I've been thinking about why it just doesn't do that much for me (and then thought I should maybe start thinking about others things, like work), and think the reasons I gave kind of stand, for me. To my ears, it's been done. But, hey, it does sound kind of cool, and it's not at all a problem, and not something that should be negatively focused on, so I'll just move on from this.

 

And I've noticed there's still not that much love for 'Wish Them Well'.... What is it? The repeating high-pitched Geddys (this has been mentioned before)? This is the first song from CA that stood out for me, and I still love it. But, still goes to show that tastes vary so much!

 

Oh, and mcgtr71 - I like that you get thrills from the album. I still get shivers during some of these songs, and I like that my body responds this way!

 

For me WTW is a filler song on T4E. In fact when I don't skip it, I sing, "Thank your stars you're not that way, carve away the stone all day".

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Apologies to everybody out there who are pretending to like this thing, but the songwriting, vocal melodies, song structures, arrangements are an example of a band that are completely devoid of any ideas as regards a musical future...

 

The mastering is so bad that the individual instruments and vocals are difficult to hear.

 

Quite obviously, to anybody with a pair of ears this album has been cut and pasted beyond belief and not particularly well

 

No, it doesn't "Kick Ass" and no, it's not their best since... ?

 

To be honest, I would prefer to read the novel than to have to listen to Pearts backing band trying to come up with some dodgy music in an effort to support his narrative.

 

"In the fullness of time" this album will go down as sucking as much as the rest of the Rush catalogue since "Signals"

 

I remember reading on this forum how great "Snakes and Arrows" was, only to be slagged of a few moths later, once the childish euphoria wore off..

 

CA is truly awful... you'll all agree with me in a few years - or through the "fullness" of time...

 

 

:rush: fans were always smart enough to disregard what the critics had to say (or NOT say) and it will be just as easy to disregard you.

yes, now you have both - a rectum and an opinion ... can't tell which is which.

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Apologies to everybody out there who are pretending to like this thing, but the songwriting, vocal melodies, song structures, arrangements are an example of a band that are completely devoid of any ideas as regards a musical future...

 

The mastering is so bad that the individual instruments and vocals are difficult to hear.

 

Quite obviously, to anybody with a pair of ears this album has been cut and pasted beyond belief and not particularly well

 

No, it doesn't "Kick Ass" and no, it's not their best since... ?

 

To be honest, I would prefer to read the novel than to have to listen to Pearts backing band trying to come up with some dodgy music in an effort to support his narrative.

 

"In the fullness of time" this album will go down as sucking as much as the rest of the Rush catalogue since "Signals"

 

I remember reading on this forum how great "Snakes and Arrows" was, only to be slagged of a few moths later, once the childish euphoria wore off..

 

CA is truly awful... you'll all agree with me in a few years - or through the "fullness" of time...

Get A Life, dude :16ton: I truly love CA :heart: , why are you still on this forum if you stopped liking their music years ago???? :smash:
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People, stop feeding the Troll's post . He does not deserve 1 page, nevermind 17 Edited by metaldad
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