GRACE UNDER PRESSURE

1984 saw the release of Grace Under Pressure, where the trends on Signals continued to grow stronger. Geddy introduced even more synthesizers and sequencers, and Neil incorporated electronic percussion into his already-immense drumkit. Meanwhile, Alex continued to utilize reggae-style guitar patterns on many songs, though his guitar was given more prominence than on Signals. The album's opening track, "Distant Early Warning" typifies all this. It's a great song and one of my personal favorites. (Plus, the video demonstrates how Rush fully embraced the stereotypical aesthetic of the 1980s. Alex and Geddy look like they're auditioning for a Canadian adaptation of Miami Vice, and Neil's got an especially unfortunate mullet.)

"Afterimage" is another example of the band's embrace of synth-heavy '80s-style hard rock. It's enjoyable, if a bit indistinct. However, over the span of the entire album, the same-y-ness of many of these songs becomes an issue. Most songs are similar tempos with similar atmospheres, and Geddy doesn't do much to experiment with the tones of his synths. Songs such as "Red Sector A" and "Red Lenses" both fall into this category.

"The Enemy Within" is a genuine highlight, though. It sounds like it could have belonged on Permanent Waves, with synthesizers largely relegated to the occasional flourish. The high-energy reggae-influenced verses make the whole song feel anxious, and that helps drive it along. "The Body Electric" is one of the weirdest songs on the album, and its contrast of jerky and smooth rhythms helps break up the flow of the album. The closing "Between the Wheels" is another strong point. Geddy's synths sound huge and threatening, and Alex gets a chance to show off a bit.

Review originally posted here: theeliteextremophile.com/2020/04/27/deep-dive-rush/