Neil Peart marched to his own beat of faith

neilpeartFrom my tribute to Neil Peart, a focus on his lyrics and their spiritual journey:

Fly by Night (1975) was Peart’s first album with Rush. The title track buoyantly celebrates the sense of adventure that should characterize life: “Start a new chapter / Find what I’m after / It’s changing every day.”

But on Caress of Steel (also 1975), with the track “I Think I’m Going Bald,” Peart grapples with mortality: “My life is slipping away / I’m aging every day / But even when I’m grey / I’ll still be grey my way.”

This independent ethos assumed mythical form on 2112 (Rush’s breakthrough hit album of 1976), which depicts a dystopian sci-fi future where a totalitarian priesthood bans guitar music and tries to bring the story’s hero under its total control.

On A Farewell to Kings (1977), the magnificent song “Xanadu” retells the story of Samuel Taylor Coleridge’s poem “Kubla Khan.” Peart depicts the emptiness that results when one is devoted solely to a life of pleasure: “Waiting for the world to end / Weary of the night / Praying for the light.”

Hemispheres (1978) contains “The Trees,” a memorable parable from Peart about a war between oaks and maples. The terrifying twist ending shows the violent cost of egalitarian revolution: “Now there’s no more oak oppression / For they passed a noble law / And the trees are all kept equal / By hatchet, axe, and saw.”

Although aware of humanity’s evil tendencies, Peart’s humane optimism bursts through in “Jacob’s Ladder,” from Permanent Waves (1980): “Follow men’s eyes / As they look to the skies / The shifting shafts of shining / Weave the fabric of their dreams.”

On the jubilant “Limelight” from Moving Pictures (1981), Peart clings to hope for life lived to the fullest, despite the obstaces presented by social convention: “Those who wish to be / Must put aside the alienation / Get on with the fascination.”

The album Signals (1982) laments those who “sell their dreams for small desires,” in the song “Subdivisions,” which makes the mass-production building zones of suburbia into a metaphor for social conformity: “Subdivisions / In the basement bars / In the backs of cars / Be cool or be cast out.”

Grace Under Pressure (1984) contains the haunting song “Aftermath” about the death of a friend: “Suddenly, you were gone / From all the lives you left your mark upon.”

It’s a testimony to the impact of Neil Peart that so many people felt such a blow from his death.

Music gives shape to our lives as we reflect along with it in our private interior dialogues. Peart was a conversation partner for many in this inner world.

Although he was agnostic in public, yet always “looking for an open door” (as he put it), perhaps the hope and joy he did discover in life may have enabled him to find his way in the end.

Pure Reason Revolution release ‘Eupnea’ on April 3

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Pure Reason Revolution announce Eupnea — their first studio album in nearly 10 years!

Last year, Jon Courtney and Chloë Alper reunited the much-loved Pure Reason Revolution, playing their first show in close to eight years at Midsummer Prog Festival and performing their debut album The Dark Third in full. Today they are excited to announce the release of Eupnea, their first new studio album in nearly 10 years, for the 3rd of April 2020.

Time Lord’s Top 10 Metal Albums of 2019

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‘Twas the night before Christmas, and all through the house, the metal was cranked, and all the proggers were soused…

In that festive spirit, here now is a supplement to our previously published list of the Top 10 Prog of Albums of 2019. It’s a list of yet another batch of our ten most-listened-to albums of the year. This time it offers a record of the ten explicitly metal albums that we listened to the most (in chronological order) throughout the year.

True, there is much fine metal on the earlier list (Tool, Opeth, etc.), but this supplementary list had to be created because there were still more great metal albums that we listened to heavily, no matter how proggy or not they were.

So, without further ado, let us add to the historical record a list that is best appreciated in tandem with our earlier one. But this new list is called our Top 10 Metal Albums of 2019:

Soen, Lotus, kicked off the year with a slab of pure metal perfection. From the genuinely thrilling guitar sounds to the compelling vocals, this band has developed a unique sound that stands out among the competition. 2017’s Lykaia was a masterpiece, but the production had some flaws. On Lotus, any such obstacles have been removed, and the band rocks without restraint on it, yet still within the majestic confines of superb songwriting.

Battle Beast, No More Hollywood Endings, showcases an incredible versatility, part of which answers the question of what a metal ABBA would sound like. While the first three tracks deliver a more commercially presentable side, “Unfairy Tales” and “Endless Summer” do the same, but with even more of a heartstopping edge, furnishing what should have been number one radio hits, were radio still a thing. The sonic edge then becomes a metal sword slaying everything in its path with our favorites, “Raise Your Fists” and “The Golden Horde.” This album proves that a great band is never confined to one genre or style, but instead ranges freely, sowing musical excellence wherever they go.

Spirit Adrift, Divided by Darkness, is a non-stop metal thrill ride in the classic style from start to finish. But surely its finest track occurs unexpectedly, in the number four slot. “Angel & Abyss” clocks in at 6:32 and delivers a killer one-two punch of what is reminiscent of first Sabbath then solo Ozzy. The galloping Ozzy section contains what are the most exciting air-guitar inducing moments of 2019. There’s even a Crazy-Train style vibraslap and maniacal Ozzy-like laugh just before the fadeout. Metal doesn’t get any more satisfying than this. Trust us, every track on this disc is a winner too.

Black Sites, Exile, serves up a diverse yet classic rock-infused infused array of delights. If you need proof, start with the track “Feral Child” which rips your face off. Then stick around for the prog-worthy “Coal City,” which tells a fine story and delivers the musical goods beyond expectations. You’ll want to spin the album multiple times, again and again just like we did.

Cwn Annwn, Patron Saint, is the kind of album that makes doing this web site for free more than worthwhile. Every now and then, we get an email from an unknown band asking us to listen to their work. When we sampled Cwn Annwn’s latest, a band we knew nothing about, we were unprepared to be so blown away. This intense album was so good we just couldn’t stop listening to it, and in fact it probably came to be the most listened to disc we played all year. The songs are just that good, and the band plays with such conviction. The crowning glory on every track is rendered by vocalist Julie Stelmaszewski, who has one of the best voices we have ever heard. Why is she not famous, and packing the stadiums? Why is Cwn Annwn not recognized for being one of today’s greatest metal bands, and touring the world? Perhaps it is because of what are for most people unpronounceable names. Well, let us spell it out for you in clear monosyllables: BUY. THIS. DISC.

Paladin, Ascension, has some of the wildest metal we heard all year, with every ounce of guitar blazing with dazzling virtuosity. There are so many favorite moments here, we cannot begin to name them all, for we would never stop, not just with every track, but within every track. Anyway, check out the glories of “Divine Providence” and “Fall From Grace.” No doubt when these cats play live, the cops must want to give them speeding tickets as they walk off. If they can catch them, of course. Good luck with that.

Michael Sweet, Ten, doesn’t just turn it up to ten, he turns it up to eleven and beyond. There are in fact twelve tracks of unsurpassed metal here. The album just doesn’t quit with track after track of headbanging vigor and head-exploding guitar solos. There’s only one ballad track (“Let It Be Love”), but of course Sweet slays it on that one too, thanks to his preternatural voice. Our favorite rockers include “Lay It Down” and “When Love is Hated.” But to be honest, the favorite is always the track from it that is currently playing.

The Darkness, Easter is Cancelled, redeems rock and roll and brings it back from the dead beginning with its killer first track, “Rock and Roll Deserves to Die.” From there, things just don’t let up as “How Can I Lose Your Love” continues to convict us that this is the best album from The Darkness since Permission to Land. And then track number three, “Live ‘Til I Die,” tips the scales and makes this their best album ever. When Justin sings about his youth, the music turbocharges the track into pure transcendence:

Well, I went through some changes at the age of fourteen
And discovered all the joys of rock wear:
I made a point of wearing unfeasibly tight jeans
And endeavoured just to grow my hair.
But kids can be cruel; I wasn’t popular at school:
I became the subject of a campaign of ridicule.
But I’ll stick by my guns
And rise above the laughter of the ignorant ones.

Incredibly, the vocals on this track achieve the same heights (literal and metaphorical) as Freddie Mercury on Queen’s “Under Pressure.” In addition, note that the title track “Easter is Cancelled” is, like the album art, only apparently sacrilegious. On closer scrutiny, and on more careful interpretation, both are in fact mocking the sacrilegious conceptions of Christianity (hello, red hats) that hypocritically pursue worldly power and really see no need for redemption through suffering. Finally, the closing track “We Are the Guitar Men” celebrates the fact that rock and roll, even amidst this lousy generation, is truly alive and well, and The Darkness are its metal heralds.

Gygax, High Fantasy, sneaks its way onto our list with a svelte album that charms with only about half an hour of twin lead guitar-infused, spellbinding tracks. Compared to their previous two albums, it seems like they don’t bother self-editing on this one, since the guitar work is quite crazily bursting out at the seams everywhere. Some people might say this is overplaying, but holy shirt-balls is it awesome. We say it sounds like us jamming in the garage. Or at least what we are trying to sound like. Forking Gygax actually does sound like this!

Tygers of Pan Tang, Ritual, arrived late but dominated our playlist anyway. Where others could try to nitpick and find fault with one, two, or even three different tracks on here, we would rather disagree. They are are all fantastic songs, each in their own way. Perhaps our favorites can be named out loud: “Destiny,” “White Lines,” “Words Cut Like Knives,” “Damn You!” and “Love Will Find A Way.” Oh wait, also “The Art of Noise.” Oh man, we just named more than half the album. Okay then, we should really name the whole thing: Ritual. Yes, the entire album is killer. Rock on, you metal heads.