2112

"2112": The album that got me from classic 70s rock into progressive music in one move. One of my all-time favourite "Heavy Prog" albums, and I thought I'd write this because I can't believe how underrated it is on PA, compared to the later Rush albums that just include a couple more time signatures. "2112" is probably the most powerful work Rush created, both sonically, through the unique tones of their instruments, and the soulfulness of the delivery of these pieces. The band really works as a strong unit on here, and since 3 years ago when I got into progressive music, this still holds up as one of my top 25 albums.

Beginning with a heavy rock overture to "2112", lots of modern synthesised sounds are evident here, and very well assembled as you hear it over and over, singling out where each section appears on the 20-minute epic, even through the most subtle bass lines by Geddy. Starts the album on a big symphonic high, and morphs into the storyline behind "2112", with "The Temples Of Syrinx". Some of Geddy's best vocals are apparent on this particular part, teamed with an aggressive pounding guitar from Lifeson. Of course, Neil Peart is very commendable on this album and remains a consistent drummer to give the whole album a lively backbone, so I won't go into too much detail about him. "Discovery" tells the ingenious tale of a man finding a old, out-of-tune guitar in a cave, which is beautifully narrated through Neil's lyrics, plus Geddy's soothing yet astonished voice at his "discovery" of the "strange device", plus some great waterfall effects and exceptional guitar playing by Alex as he starts to become (much) better at this brand new instrument, playing specific chord shapes at various places on the fretboard, which would in time develop into his signature openly resounding major chords heard on "Xanadu" and "Hemispheres". Probably my favourite section of the sidelong epic.

"Presentation" then acts as a powerful victorious component of the piece, strongly contrasting the much more intimate and personal "Discovery", as the character shows off this instrument to the priests of Syrinx. As the majestic climatic choruses jump in, the lyrics fit perfectly! "Yes we know, it's nothing you, it's just a waste of time" is unbelievably phenomenal with the major chord (to my ears at least) and one of the highlights of the album. One of Lifeson's many solos then leads you into "Oracle". Almost feels like some sacred chapter of a book come to life, with chords that really shouldn't work together but staggeringly do. The lyrics and very dynamic teamed with Lee's delivery and once again work splendidly! "Soliloquy" carries on the flowing, phased guitar atmosphere with more relatable than profound imagery through the lyrics, morphing suddenly into an undoubtedly soulful, passionate portion of the track, and another astounding solo from Lifeson! Sets you up very nicely for the ever-building chaotic "Grand Finale", where you are thrown into some sort of battle scene with squealing guitars everywhere, and odd time signatures, chords and effects to great use, that get more and more symphonic until ending on Peart's faintly robotic voice, bellowing "We have assumed control". Neil stated that this is the victory cry of the Elder Race, but without the information, it leaves you on an ambigiuous cliffhanger, greatened by the abrupt end to the cacophony of the battle's soundtrack. This track alone could make the album a 5-star masterpiece for me, but becomes an even more solid work with side 2 included...

"A Passage To Bangkok" is a classic sort of early Rush song (i.e. first 2 albums) written and developed with more knowledge and maturity. A nice way to come out of the detailed concept of "2112" and into something a bit more light-hearted and not to be taken seriously. This is shown by the out-of-the-way lyrics, which help you listen more to the relatively complex and constant chord changes and harmonies, mostly emanating from the guitar. Really more of a guitar-centered song (as with most of the album), and not as many progressive instruments as their later albums, so I can sort of see why people aren't as favourable of this one. Nevertheless, probably the heartfelt album in Rush's catalogue. "The Twilight Zone" is erring on the eerie side. Whilst not being as experimental as the title suggests for a prog rock band, nonetheless amazing. Very hypnotic chords and lyrics, still managing to convey solid melodies and a piercing yet minimal guitar solo to the listener. Also has a very definite and fervent intro with that ridiculously simple riff. It's the way the notes are projected by the band that make it such a brilliant song though.

"Lessons" is the most upbeat song on the album. Great little acoustic chords, matched with a climatic chorus and solo like all great Rush songs. Once again, the lyrics are very powerful paired with Lee's vocal delivery and the chemistry of the band here is conspicuous. This one in particular though is so excellent, and very underrated on such an album as this. "Tears" then introduces a very watery, emotional song to the album. Perhaps a little too much for a heavy progressive rock album like "2112", so it clearly stands out from the rest of the songs, but I really admire that risk and the song is superbly written as well. The chords are sensational when you analyse them, especially if you are a guitarist like myself. Of course, marvellous percussion on here by Neil, as with Geddy's singing and bass playing. A delightful addition here too with Hugh Syme's mellotron, making a lovely piece. "Something For Nothing" then takes you back into the phased guitars you heard from the beginning, which are also cleverly out of tune. Probably not intentional, but the raised pitch separates it from the previous track, and welcomes you into a sonically new area - an ingenious technique, even if it was a mistake. Easily my favourite song of the album, because those lyrics are just as indulgently pretentious and profound as heard on "2112" as they are distinct and "in-your-face" as "Lessons". I love the pounding tritonal Am & D chords just before the chorus, and similarly the wispy minor retreat of the E major and G majors (essentially acting as a pretty E minor). With the particularly unique Lifeson signature solos, shrieking vocals from Geddy that build alongside Neil's second-to-none drumming and display such an awesome track by any means. The musicality and the magic somewhere between those notes creates a magnificently well-structured monument of a track and a brilliant way to end.

A(+): The connection between the pinnacle of heavy rock and progressive rock for me. A must-have for any fan of either genres!

2112: ***** A Passage To Bangkok: ***** The Twilight Zone: ***** Lessons: ***** Tears: **** Something For Nothing: *****