Rush - Clockwork Angels

Released on April 19, 2012, Rush's Clockwork Angels is still relatively new. I've personally had a copy in my hands for the last month or so, as of my writing this. If you picked up any album fromk Vapor Trails until now, excluding Feedback, you already know how this album sounds.

Rush seems to have found a modern sound that they really like. I don't think they've really changed much as far as prodution goes, it's just the quality has gotten better over the years. I mean how do you really improve on Canadian pefection?

I know I normally don't talk about packaging when it comes to albums, however one of the first things that caught my eye was that the times listed next to every song are listed as 0:00. I think this is really important to the overall feel of the album, because it seems like this album is actually one giant song with multiple parts. Think 2112 (song) or By-Tor And The Snow Dog, but each part listed as a track would actually be a part of the song, not the song itself.

If you open up the book on the inside and read the liner notes, and look at the awesome artwork you'll see that I'm bang on. This is actually a full concept album. Those amazing geniuses snuck another one in under the radar.

There are some key elements behind the scenes on this album I would like to point out as well. Like always all music is composed by Geddy Lee and Alex Lifeson, with all lyrics written by Neil Peart. All the arrangements were put together by the band and producer, but the string arrangements on five tracks were done by David Campbell and Jason Sniderman plays piano on one track as well.

Now to be fair, after the first couple of listens to this album, I wasn't overly impressed. Not that it was bad, it just sounded too much like the last couple of albums. Then as I started hearing the tracks broken up during random play, between twenty-five other discs, I started noticing how much these songs were getting me off. For the first time in a couple albums I found myself going out of my way to learn the song names.

Once I figured out it was in fact a concept album I started paying more attention to what was actually going on, and now I have to say I'm impressed. That's the thing with Rush, you have to be paying attention. With this album you also have to take the time to look at the packaging. Much like 2112 there is a story that is also being told within the packaging that can't be heard on the songs. I however don't want to give everything away, so I'm just going to cover the songs normally.

The album opens with Caravan, which stands out most to me because of Geddy's bass work. He's channeling some major mojo while ripping into those strings. I would like to know how he keeps getting better and faster over the years, while most people are slowing down. It just blows my mind.

From there it's on to BU2B, and the first thing that went through my mind was, "Oh fuck, the synthisizers are back." That quickly subsided, thankfully. For the most part this song is pretty basic and to the point, which you may not guess from the title. I could see this one doing well on the Radio, if the radio played good new music, instead of the typical mindless drivel.

As you continue to read on, you'll notice that I mention Geddy and Neil more than Alex. I do apologize to Mr. Lifeson. Alex has the hardest job in Rush. He writes half the music, and had to play with the worlds most amazing living drummer and bassist (this is a general belief amongst most people I have ever talked to). That is not easy, by any stretch of the imagination, and the fact that Alex never comes off as a the weakest link, but just as strong and talented as the other two members only serves to cement what I'm saying.

The title track of the album is really intense. This is your typical Rush song in the sense that it's just crazy complicated, while still being soft and sweet. The production on this song is amazingly well done. Nick Raskulinecz along with the band themselves, just really knew what they were doing when they put this song together. Lyrically it has everything you come to expect from Neil Peart. "High above the city square / Globes of light float in mid-air / Higher still, against the night / Clockwork angels bathed in light / You promise every treasure, to the foolish and the wise / Goddesses of mystery, spirits in disguise / Every pleasure, we bow and close our eyes / Clockwork angels, promise every prize / Clockwork angels, spread their arms and sing / Synchronized and graceful, they move like living things / Goddesses of Light, of Sea and Sky and Land / Clockwork angels, the people raise their hands / As if to fly / As if to fly". He's more than just the world's best living and still playing drummer!

After that comes The Anarchist. This is a fast paced, heart pounding drive, set on cruise control. This is the first song to feature David Campbell's string arrangements. They add a great texture to the song. However, this song isn't exactly what you might grab from the title.

The most stand out thing about Carnies is how much the guitar is audiable. Typically Alex is lost in the mix, in a sort of way, but that's because of his playing style, which is very pulled back, in sound. On this song he actually plays some normally loud riffing and can be easily heard.

Halo Effect is a bit softer, but totally enjoyable. David Campbell's string arrangements help it along. On the whole this song doesn't do much for me. It's like Resist (Test For Echo) with it's accoustic approach, and style. It's a lot beefier than that song, but if you know what I'm talking about you get the idea.

Seven Cities Of Gold is awesome. Other than the title track and The Wreckers, this was the track that caught my attention really quick. Musically it's just a great rock song, and the chorus of "Seven Cities of Gold / Stories that fired my imagination / Seven Cities of Gold / A splendid mirage in this desolation / Seven Cities of Gold / Glowing in my dreams, like hallucinations / Glitter in the sun like a revelation / Distant as a comet or a constellation", I find very enjoyable and also very singable.

The Wreckers is a bit suprising. When you see a title like that you expect something big and heavy, expecially after the last song. What you get is some beautifully melodic piece of glory raining down on you from the heavens, especially during the chorus. This is also another song featuring David Campbell's strings. They work so typically well, that you can't help but fall in love with this song even more.

Headlong Flight starts off in the jagged Jazz way that only Geddy and Neil seem to be able to create together, and Alex capitalizes on like no one;s business. Now of all the songs on the album I find this one the weakest, but weak on this album means this one song alone is a 7.5, and it only goes up from there. I will say that this song is a bit depressing if you read too much into it.

BU2B2 is more or less a bit of a filler to help keep the story going. It's not filler in the sense of being a bad track. More filler in the sense that it's not really much of a track. It's short, mainly contains lyrics, and is more ambience and less musicianship.

Wish Them Well is great. This is the most fantastic message I have ever heard in a song, and I wish I had been given it when I was younger. It would have saved me a lot of years of pain. "All that you can do is wish them well / All that you can do is wish them well / Spirits turned bitter by the poison of envy / Always angry and dissatisfied / Even the lost ones, the frightened and mean ones / Even the ones with a devil inside / Thank your stars you're not that way / Turn your back and walk away / Don't even pause and ask them why / Turn around and say goodbye ".

The Garden is a nice way to wrap up the album. It's sweet, soft, has a sense of fulfillment, and it so amazingly constructed. These words have never left my lips before "I love Geddy Lee's voice on this song."The measure of a life is a measure of love and respect, / So hard to earn so easily burned / In the fullness of time, / A garden to nurture and protect / (It's a measure of a life) / The treasure of a life is a measure of love and respect, / The way you live, the gifts that you give / In the fullness of time, / Is the only return that you expect". Then there's Alex's solo, which is so prominately displayed in a full delicate beauty of simplicity. This is also the song that has Jason Sniderman's piano playing.

This album really is a mind blower, after the second or third listen, unless you break into the booklet that comes within the packaging. Then it's clear right away. If you are a Rush fan, that you should already own this album. If you are on the fence about this album, than you should get off that fence and go buy it. Totally worth owning and listening to. Imagine if 2112 and Vapor Trails had a baby, and that gives you a good idea of what to expect from Clockwork Angels.

8/10 - content

10/10 - production

9/10 - personal bias