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Album Review: RUSH – Clockwork Angels

Album Review: RUSH
Clockwork Angels
Universal Music

Forty-four years into their history, the 20th true studio album from Canadian prog-rock icons Rush is a musical foray into the world of steampunk. You could call it a concept album… but really the concept is much grander than a simple lyrical connection throughout. Drummer and lyricist Neil Peart has created an entire world that spans 12 tracks; providing Geddy Lee with much to wail about. Alchemy, pirates, and steam-powered airships soaring over endless plain are all present in the world of Clockwork Angels. RPG fans rejoice! An interesting approach, but how does the music stack up?

The first track “Caravan” sets the tone for the record. Starting with a subdued but eerie ambiance, a bit of instrumentation builds briefly before the mighty power trio kicks in. Tight production, forward-thinking arrangements, and brilliantly placed atmosphere would be the norm for most of the next 60 minutes. Guitarist Alex Lifeson hits a great balance between driving riffs and screaming, effect-laden solos; while partner in the concoction of brain-scrambling musical arrangements Geddy Lee thickens everything up nicely with deep tone that is a far cry from the soggy-cardboard bass sound of years past. Lee’s vocals give the Rush-haters less to complain about as well, as he sticks to his epic storytelling range as opposed to his whiny “aaaaaah SALESMAN!” upper-register. Neil Peart has his little drumming cap firmly in place on this record and, as always, does not disappoint in the slightest. The progression he’s made stems from the fact that gone are the days of overly complex beats that he would play in precise segments, add time-reconstructing fills, wash, rinse, and repeat. On Clockwork Angles, it’s constant forward motion. You can hear him jamming, grooving, feeling loose and comfortable. It’s this element that helps the album grow and get better in a steady progression through at least the first three songs -and even after that there is no drop off. Things keep moving and changing, from eastern wails and reverse-tracked vocals in the epic title-track; to the filthy guitar and bass licks that start “Carnies” and “Seven Cities of Gold”, respectively; to heavenly synth and pretty acoustic treatment in “Halo Effect”. It takes until the second last song for anything even close to what can be considered ‘filler’ to make an appearance.

Combined with the stunning artwork present in the disk’s packaging, the release feels like an actual album; which in this day and age, is refreshing. Read through the lyrics and peruse the imagery when first listening and the creative intent of the record becomes much clearer, much quicker. The whole experience moves ahead from start to finish in a way that stays true to the band’s prog-rock roots, while somehow managing to shed some of that musically-indulgent excess. It’s ‘proggy’, but not ‘wanky’. It’s very atmospheric, but still heavy. It’s cool AND it’s nerdy, and it’s about the best release you could expect from the ageless cult-icons of the great white north.

Official RUSH

By: Justin Sarris

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