Classic Rock Album of the Day- Rush- The Cherubs of Labyrinth (2026) *** 1/2
In an incredibly strange and exciting chain of events, the legendary band Rush has almost stealthily released their 20th Studio Album, The Cherubs of Labyrinth. This even shocked industry insiders, who thought the 50 Something Tour was just a trip of nostalgia. I think many of us have been ecstatic but ambivalent on how after over 10 years inactivity, this prog juggernaut would decide to take part in a post retirement encore. Hearing the band is a joyous add that has been missing, and been limited to those You Tube rabbit hole of listening endeavors to various interpretations of same songs, as they morphed in style through the decades. Counterpoint? Think how this relates to the legacy of Peart. There will be many fans who will be angry of the shear audacity to replace him is as some level of sacrilege. This could be debated forever, but at the 5000 foot level, I am pleased with the effort. There are the melodic aspects here that are so masterfully weaved in, you could swear you have been teleported back to 1978. And then there are times you can painfully realize that there is a definite step change down in lyrical quality. There is no doubt who the band’s chief lyricist was. Summing it all up, it is like skimming off the very best of Lifeson’s and Lee’s solo careers, but then varnishing it off with a definite Rush feel and taste. And maybe the most overtly focused concept album that they ever made.
Rush personnel listed on the album are of course, founding members Alex Lifeson and Geddy Lee. Newcomers on the album are wunderkind Jazz Drummer Anika Nilles, and stage keyboardman Loren Gold. Songwriting credits are limited to Geddy and Alex, but in the one jazz like contribution, you can definitely tell that Anika at least had a hand in that effort.
The album consists of 5 tunes, and amazingly one that is composed with a hard and strong progressive punch that the professor himself, might have appreciated. More on the title track below. The balance of the work is good strong mix of jazz, classic rock, and other assorted wizardry that we have experienced through the decades. And as far as proficiency, I won’t say the guys were rusty, but there might just be a smidge of loss of crispness in the solos and runs. Make no doubt about it, these efforts are phenomenal. But let’s not lose site that Geddy and Alex are now both in their early 70’s, and the joints and fingers are just not as nimble as they used to be. And the biggest question of all…. How well did Nilles do in replacing the un-replaceable? Well, the short answer is as the best as she could. As you can see in the Juno Award performance (below) , her kit is much more slight than Neil’s but she nails every key point in her own interpretation of the mainstay “Finding My Way”. Gold’s contributions are almost unseen and unheard much as a rhythm guitar or background mellotron. His role is mostly for fullness of sound and orchestrative value.
Fun Fact: The last time Rush was officially a 4 piece outfit was in 1971, in their pre-recording years.
Track No.
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Track 1
The Cherubs of Labyrinth- 17 minute title track and a 5 part Prog masterpiece that harkens Rush to their 1976-1984 dominance,. I am guessing 10 years of gathering ideas helped formulate a top notch effort. The intent of the song ,is obviously a pointed and heartfelt tribute to Neil Peart. And it deliverers nicely on every front,
1 I- AMAZing- 1st movement starts with a understated and hooked synth ditty that adds and builds much in the way Baba O’Reilly hits the listener, morphing later into a bass/ax fight in true Bytor/Snow Dog fashion. Mid way FX like melodic clinking runs almost chromatically while Alex shreds some almost like Strangiato cresendo-ing into a slamming door. Fantastic,
II- Machine Elves- Gold and Geddy harmonize in this terribly eery but effective in bridging the slamming door to what feels like some of the more macabre like NIN stuff. Lot’s of ambient FX intertwined with lyrical imagery of metaphorical afterlife, and reflective of the deeds on earth, like Peart reflected in his lyrics. This is the particular movement that Ms. Nilles channels her inner-Neil, and does complex, tight, and effective drumming. Obviously she is not trying to copy or emulate Peart’s style, but kind branding her own thing here. And it works.
III- Bunyan’s Corollary- Mass instrumental chaos and wizardry, as Geddy and Alex pull out all the stops much in Cygnus fashion. Jaw dropping runs that interplay and blend so perfectly. Also listen to the the number of time and key changes that are made on the fly, makes for a mind boggling complex operation Utterly Fantastic. And the highlight of the album.
IV- Irkalla- The Realm- In a true tour de force of bizarre, the band creates a multiphasic, multi channeled weave of various musical, I mean many various musical genres. It’s done in masterful fashion as these all crescendo to a mid point and then retreat to an almost hollow barrel like effect. Hard to describe, but kind of like phasing down to a When the Levee Breaks sound and feel. Jazz, Hard Rock, Reggae Soft Rock…. They touch on all them on like a spinning wheel.
V- Knock Knock Knocking- Borrowing from a Dylan theme the final movement starts with a knock, and a creaking door which starts with a melancholy lyrical touch of regret, remembrance, lostness.,and downright self loathing. Geddy in a very heart felt manner, exudes personal pain of loss. Then the song gradually moving into the encompasive warm feel and glow, that builds and ends with an absolutely majestic and chaotic finale. Think 2112 Grand Finale, but with much more orchestrative depth and feel. Yep…. Rush is back.
Track 2-
Zeeblebug- Pure, I mean almost pure jazz fusion. . Fantastic improv like runs and flashes. Did Nilles inspire or influence this?, probably. Myself? I am not a jazz fan, so my personal take of the lower tier ranking,. But that is just me.
5Track 3-
Artificial Intelligence- Maybe the most late 1970’s sounding Rush song on the album. Band remembered and borrowed from Peart’s societal dystopian bend in songwriting, Good hooks, and if one song on the album does get some radio like play, this will be the one.
2Track 4-
Sticks- The true tribute song to Peart- Tune has kind of a 90’s-ish feel as far as Rush style, More synth, and subdued melodic approach,. Song is full of allegorical references to his life including his private nature, intelligence, kindness ,and unparalleled skills in percussion-
3Track 5-
Resonance- Another more in the tradition of mid ’70’s simpler tone. Almost sounds like it could be from that rocking era of their 1st album, that will surely please the earliest of fans. Great allegorical value though, about the trials and tribulations of trying to grow not only in music, but as a person.
4
http://www.youtube.com/watch?v=kVw-4L59Tw0&list=RDkVw-4L59Tw0&start_radio=1
