Rush
2112

THE REVIEW

The first thing I asked myself when listening to Rush (from various mp3s freely downloadable from www.progarchives.com, a highly recommended site for those approaching the genre) is: how have I not heard them before?

All I knew, from reading the "dear old Metal Hammer" a few years ago, was that they were one of the fundamental references for Iron Maiden at first, and for the orgy of similar bands that would later emerge. For someone like me, an "old" metalhead raised on "Kill'em All," "Covenant," and "Morbid Visions," it becomes natural to listen to this genre: not because I'm tired of the fury of death/black (which I still listen to and follow with passion), but because... I've aged, and I'm becoming nostalgic!! And because I believe I understand - in part, of course - where the epic gallops and heavy outbursts we've been accustomed to for about 20 years originate from.

The Rush of "2112" perfectly combines vocals akin to Led Zeppelin, music that the best King Crimson knew (and know) how to play, and a concept that I read is sci-fi (which I haven't translated yet and don't know as I should). To say that at their debut they were considered so lacking in creativity that they were taken for a cover band (!) of Plant's group: not here, our guys create a new musical world, apart, I would say almost dreamlike, rich in ideas, spiced with the wise use of effects and extremely original riffs. And how can we not talk about the power and vocal range of Geddy Lee?
A style that reminded me, in its entirety, of certain Iron Maiden albums. And if you're curious, dear metalheads, you should listen to them too: we were in 1974...
Listening to the long and intricate suite "I Overture, II The Temples Of Syrinx, III Discovery, IV Presentation, V Oracle-The Dream, VI Soliloquy, VII Grand Finale," with strong progressive accents and numerous tempo changes, the catchy "A Passage to Bangkok" with its evident Zeppelin influence, you can't remain indifferent. The subsequent semi-acoustic "The Twilight Zone" (tell me it reminds you of something!) evokes melancholy and nostalgia, while "Lessons" provides, needless to say, a great lesson in rock music, with heart-stopping solos (and to think that they were only THREE creating that "mess" - in a good sense!).
What do you expect then from the first notes of "Tears"? The same sadness from a rock ballad, that unique atmosphere that only a great ’70s album can give... and you arrive at "Something For Nothing," my favorite: of which I just want to give you an excerpt from the lyrics:

"What you own is your own kingdom
What you do is your own glory
What you love is your own power
What you live is your own story
In your head is the answer
Let it guide you along
Let your heart be the anchor
And the beat of your own song"

In short, once again my thought is confirmed and reinforced (and here there will be much to discuss): today's metal bands - from the '90s onward, with few exceptions, have invented (almost) nothing, because (almost) everything was written, rewritten, carved, and prominently displayed 30 years earlier. Forgive the "almost," but at this moment I might be missing some fundamental band... That's why, then, it's so difficult to make metal today without being trendy, copycats, anachronistic, or simply "false metal," meaning out-of-tune (!): because ideas are lacking, you inevitably have to strive to invent something, as Rush did with 2112.

And the question becomes: what would I be listening to now if I had found this CD 10-15 years ago?