Respected by musicians, idolized by fans, and loathed by critics (Robert Christgau, the self-proclaimed “Dean of American Rock Critics,” once spat that Rush was “the most obnoxious band currently making a killing on the zonked teen circuit.”), Rush is a power trio colossus that’s weathered the storms of commercial success and seesaw popularity and has come out the other end as stately veterans who consistently operate entirely on their own terms. Together they make up a sort of Futurist collective-men formed out of the great and progressive Canadian constitution. Each distinctly brilliant, each dedicated wholly to their crafts as composer, musician and performer. Their new album, Clockwork Angels, kicks serious ass in an old school Rush way and may be their best recorded effort since Moving Pictures. Brooklyn, New York Rush, the ultimate power trio, or at the very least the one that has outlasted all others, continues to show signs of relevancy 44 years after its original formation.
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