2112

"2112" is a definite cornerstone in Rush's long career, since it is the album that simultaneously culminated their heavy rock oriented first phase and set the pace for their progressive second phase. From the opening synth layers and initial guitar-bass- drumkit blows of the namesake suite, you can tell that these guys are headlong toward the exploration of a deeper artsy trend in their own rock essence. The joint pair of the first two sections have grown to bear a personality of their own through countless renditions in countless tours. The 'Overture' consists of a set of following sections' portions, while 'The Temple of Syrinx' displays a powerful example of vintage Rush in a most majestic expression. The final classical guitar flourishes end this section with soft elegance. 'Discovery' and 'Presentation' are also paired in a continuum, the former built on a serene guitar chord exercise, the latter bringing another solid example of typical Rush rock, albeit with an enhanced melodic vibe. 'Oracle' and 'Soliloquy' we have two brief musical sketches that serve dramatic purposes for the story's development - that is not to say that the amazing guitar lead at the interlude of 'Soliloquy' has to be dismissed, on the contrary, it is one of the most emotionally charged Lifeson solos ever. The fact is that these two sections find themselves a bit "stuck" between the splendid ending section of 'Presentation' and the incendiary 'Grand Finale'. It is impossible for the Rush-head not to feel moved by the sinister sound of that infamous robotic declaration: "Attention all members of the Solar Federation1 We have assumed control" while the trio displays tons and tons of their rocking power all the way through the main riffs toward the red hot chaotic conclusion. This is real prog metal before its time! The album's second half consists of a catalogue of shorter numbers. 'A Passage to Bangkok' pretty much anticipates the atmosphere of controlled sophistication that will be used recurrently in the 77-81 albums' shorter tracks. 'The Twilight Zone' also builds on that, although I wish this particular song had been more developed, since its bluesy nuances and mysterious ambience had enough potential as to be explored further - anyway, that's the authors' call. After the funny 'Lessons', penned by Lifeson as a joint homage to The Who and Led Zeppelin (two of the most prominent influences on Rush's earliest years), comes 'Tears', one of the most beautiful Rush ballads ever, penned by Geddy Lee. The marriage of acoustic guitar and mellotron serve as adequate sonic vehicles for the romantic vibe incarnated in the vocal lines: indeed, you need not be a prog fan or a hard rock lover to enjoy the simple beauty of this song. The album is closed down by 'Something for Nothing', an effective rocker related to the spirit of the "Fly by Night" and "Caress of Steel" albums. Well, what else can I say that many people haven't said months and years before me? "2112" is an excellent item in any good rock collection, and it is of special meaning for Rush, since it is the ultimate statement of the maturity of their own musical voice. From now on, they will be left with constant refurbishing.