ARTIST: Rush
ALBUM: Clockwork Angels
LABEL: Anthem/Roadrunner
RELEASE DATE: June 12, 2012
Like Clockwork
Photo by Andrew Macnaughtan
Written by Dan Sinclair
It’s been almost four decades since Rush released their self-titled debut album, and while “Tom Sawyer” may no longer be so “modern-day,” these Canadian rockers are, as they are back with their twentieth studio album, Clockwork Angels. Nothing’s changed here: Geddy Lee still slaps a mean bass, Neil Peart still bangs hard on the drums and Alex Lifeson still shreds on guitar.
The album kicks off with “Caravans,” where we hear a train bell, gusty winds and possibly some rolling thunder in the distance along with a steady rhythm guitar and some sporadic drumming – it’s all here to let everyone know Rush is back in town. Then it kicks in with Lee and his bass – let the rocking commence. “Caravans” is the dreamy, fantasy rock sound Rush fans have known well over the years. Lee sings that he “can’t stop thinking big,” and here at album number twenty, we all realize this to be true and wouldn’t be surprised at hearing another twenty before Rush is done. Geddy’s powerful bass, Neil’s pounding drums and Alex’s fast guitar are all featured prominently throughout in different ways proving there is no slowing down – even after thirty-eight years.
Perhaps in order to get in touch with a younger fan base, Rush decided to write out the title to their second track, “Brought up to Believe,” in text message form as “BU2B.” But this is not a high school band, this is Rush and they break out the big guns here as Lee sings, “I was brought up to believe that the universe has a plan” and the band battles the temptation of the devil with some mean guitar and angry drum beats.
The title track, “Clockwork Angels,” stumbles a bit from this strong beginning with an uneven balance of soft, pretty, serenading verse alongside a heavier bass-driven chorus. It’s not as if it’s a bad thing, as the instrument play is top notch (as is to be expected), but on a song-writing level, the flow seems somehow unnerving. But it’s okay because it ends with a strong Lifeson solo and the next track, “The Anarchist,” brings the album right back to life with the funkiest bass line so far, alongside really cool guitar riffs.
“Carnies” continues to impress with Geddy Lee hitting some of those high notes he’s so famous for. Warning: do not attempt to sing “Carnies” at karaoke – you will fail. This is followed by the slower “Halo Effect,” about a girl who can fly: “A goddess with wings on her heels.” Once Peart gets going, this becomes one of the heaviest slow songs in quite some time.
Bass, bass and more bass as Lee is at his finest in what may be the best track on the album: “Seven Cities of Gold.” It’s a great combination of everything that makes Rush fans long for: bass, guitar, drum beats, high notes, lyrics about some imaginary city made of gold and high-ass vocals belting out a rocking melodic chorus. “The Wreckers” is a nice follow up as it feels like a modern rock version of Rush before transforming into their classic, hallucinatory epic sound.
“Headlong Flight” features one of the heaviest intros on the entire album and this is followed by the violin-backed, probably unnecessary “BU2B2.” “Wish Them Well” is the most melodic track on the album and feels as if it belonged perhaps somewhere earlier on in the album. “The Garden” ends it all with a slow, acoustic lullaby, knowing full well that “time is still the infinite jest.”
Clockwork Angels probably won’t win over any new Rush fans but I don’t think at this point Geddy, Alex or Neil give a shit. They all know there will always be hardcore, loyal Rush fans who will eat up anything that they are fed. But instead of feeding them recycled garbage like so many aging rock bands may have done after decades of rocking, Rush is still giving it everything they’ve got. Transforming guitar, bass and drums into epic rock ballads has become clockwork and these angels don’t seem to be letting up anytime soon.