I’m still reeling from the news that Neil Peart is dead. I’m sure you all are too. None of us expected this. I think we all held out a glimmer of hope that Rush would play another show now and then or come out with another album without a tour. I certainly never imagined in 2015 that Peart would be dead within five years. My heart truly goes out to his wife, daughter, Geddy, and Alex.
This isn’t an obituary. Many others know the details of Peart’s life far more than I do, and I’ll direct you towards them for those kinds of remembrances. Instead, my thoughts on Peart and Rush are deeply personal. There is nothing unique about my experiences with Rush. I know for a fact that others, possibly thousands or millions, have had similar experiences. But this is mine.
Unlike so many writing about him in the wake of his passing, Neil Peart didn’t change my life. By the time I first seriously listened to Rush in college, when I reviewed Permanent Waves for the student newspaper, my tastes were pretty set, and they didn’t lean toward heavy rock. (Truth to tell, I looked down on “that stuff” back then.) So while Permanent Waves, Moving Pictures and Exit Stage Left got me into a band my best buddies from high school still raved about — they were using keyboards now! — I basically thought, “hmm … noted and logged. Buy their stuff from now on”, and kept moving.
So I bought and enjoyed Rush’s albums through A Show of Hands; picked them up again with Roll the Bones (probably my favorite, which I know makes me a schismatic or a heretic); lost track again following Peart’s family tragedies, retirement and comeback. All the while I dug deeper and wider musically — into classical, jazz, country, folk — and finally embraced the heavy stuff. (This happens when your stepson digs Led Zeppelin.)
But for me and Rush, 2007’s Snakes and Arrows finally sealed the deal. An album this good after this many years of active service didn’t just catch my ears; it commanded my respect. I knew I had to see them live, and my high school buddy Keith obliged with tickets to their 2008 Joe Louis Arena show. And I saw something like this:
And I was gone. And I saw Rush four more times before they retired from live performance (usually with those high school buddies); bought Clockwork Angels, all the concert videos and everything else Rush-related I could get my hands on; exulted at their elevation to the heights of Noughties celebrity by the movers and shakers of geek culture; cheered when they made the Rock & Roll Hall of Fame (and took over the induction ceremony), then finally made the cover of Rolling Stone; even grew to appreciate the over-the-top virtues of “By-Tor and the Snow Dog,” 2112 and A Farewell to Kings.
So yes, Neil Peart’s loss moves me. But what ultimately drew me to him as a musician, a man, an artist, an exemplar? Some attempts to unpack the mystery follow.
Erik Heter has written a beautiful piece on Neil Peart over at Spirit of Cecilia.
There are drummers, and then there are really good drummers. And then there is Neil Peart. It’s almost fitting of Peart that his death was not announced until today, January 10th, three days after his actual death on January 7th. Whereas others did things in simple time and merely kept the beat, Peart’s timing – in drums and in life – was never conventional. Hence the announcement of his death not on the day he died, but three days later. The beats never fell quite where they were expected.
Progarchy wishes a huge congratulations to its former editor and co-founder Brad Birzer and Progarchist Dave Bandana who have formed a new band, The Bardic Depths, and become the first signing to Robin Armstrong’s (Cosmograf) new label Gravity Dream. Brad and Dave have made two albums under the name Birzer Bandana, with Birzer handling lyrics and Bandana handling most of the instrumentation and vocals. This new album, entitled The Bardic Depths, will feature a similar setup but with additional players and singers. Lyrics will focus on the literary friendship between J.R.R. Tolkien and C.S. Less (two of my favorite authors!). It promises to be a great album.
The following fine people have contributed to the album:
Brad Birzer – Lyrics and concept, spoken word
Kevin McCormick – Guitars
Paolo Limoli – Keyboards, Piano
Tim Gerht – Drums
Gareth Cole – Guitars
Peter Jones – Saxophone, vocals,spoken word
John William Francis – Marimba, spoken word
Glenn Codere – Backing Vocals
Mike Warren- Cello
Robin Armstrong – Guitars, Bass, Keyboards
Dave Bandana – Vocals, Keyboards, Guitars, Bass, Flute, Harmonica,
With –
Richard Krueger, Henri Strik, Scotty Scott, Andreas Mowinckel, Tony Bridgeman,
Martin Holmes, Phil Ball – Spoken Word
Here we are at the end of another year. As you’re probably well aware, 2019 has been the latest in a string of great years for progressive rock and metal. Overall it didn’t blow me away like other years have (a few particular albums did however), but I think that’s more because of how my year has gone. I finished up grad school in the spring, and I spent the entire year job-searching before finally starting a new job at the beginning of this month. A couple of important people in my life died this year as well, so overall it has been a year full of challenges. My ability to properly soak in all the great music that has been released understandably suffered. But nevertheless, I found much to enjoy this year, and the following are some of my favorites. They are in no particular order except for my top three down at the bottom of this list.
Rise Twain – Rise Twain
The first album by Philadelphia-area duo Rise Twain is a stellar example of what popular music should be. Brett Kull and J. D. Beck are excellent songwriters and equally talented musicians. They combine the simplicity of a good song with the more technical aspects of prog. While it may be hard to call this a “prog” album, it certainly has many varied influences that make this a solid showing. Check out my review and interview with Brett Kull here: https://progarchy.com/2019/08/30/a-conversation-with-brett-kull-of-rise-twain/
Soen – Lotus
This is a magnificent album. Beautifully heavy, as any metal album should be, it retains an ability to move int0 peaceful contemplative spaces. When this album rocks, it rocks hard, and it keeps an upbeat tone that so many metal albums often lose. “Lotus” delivers musically, lyrically, and vocally. Check out Time Lord’s review here: https://progarchy.com/2019/01/09/album-preview-soen-lotus-soenmusic/
Ok, so I’m a few days late on this one. Norwegian prog band Oak have released their own version of the classic Christmas carol, “Silent Night.” They’ve given it their own arrangement, and it is uniquely their own.
Also a list of my favorite albums of the year should be coming to Progarchy this weekend, so stay tuned for that. I recently moved states to start a new job (my first full-time job post grad school!), so things have been a little hectic as of late. There should also be several reviews forthcoming of physical CDs sent to Progarchy in 2019, so stay tuned for that as well. (And for the artists who sent us physical CDs – no we haven’t forgotten about you! It’s just been a very busy year for me, and I’m the official Progarchy physical address.)
The very notion of a double album should be enough to make most people giggle a little bit. There are implications of ‘concept album’ and insinuations of ‘prog-rock’ involved in that notion. Neither of these things are not cool, but they encompass exactly what Origins is, and exactly what M-opus do.
After the release of a stunning debut album 1975 Triptych in 2015, which was thought-provoking as it was sonically mesmerising, the Dublin, Ireland trio didn’t take it for granted and rush into a songwriting process for their follow-up.
The focus of the band’s attention has shifted somewhat, and although the debut was somewhat concept record, Origins is a piece of work that is entirely based on the story that deals with “redemption and destiny, the fulfillment of potential, through the story of a character who is a genius, but is his own worst enemy; a drunk gambler who is increasingly lost.”
Throughout of the album’s 28-track repertoire, you get epic arrangements brought to perfection which are refined through a pleasant filter. Origins intersperses jangled guitars with angular complexities that might fly over some heads – repeat listens are deserved. The songs are organised so intricately that all the nuances and difficulties that might have gone into recording such an extraordinary album are totally lost in its beauty.
At the other end of the spectrum, however, sit songs which will shower the listener with jagged shards of heavy pounding; jagged shards that will bypass your vital organs and instead embed themselves within the deeper, darker echelons of your mind. Some of this album is simply unforgettable.
M-opus really do lead by example: with Origins acting as a fantastic example of how to take inspiration from all the sub-standard facets of day-to-day goings on to create a stunning collection of songs, they’ve proved that not everything in modern life is rubbish.
Rise Twain – Rise Twain
Soen – Lotus
Progarchy 