Memories of a Clockwork Universe

Slightly different kind of post this time, just a head's-up!

Last week I saw a post that reminded me that Clockwork Angels, the nineteenth and final studio album by Rush, had been released ten years ago.

Ten years. I'm starting to feel old.

But since that post came across that feed, I've gone back and listened to that album all the way through several times. Yes, just in the space of a couple of days. I haven't been able to get it out of my head. There's a lot to say here, a lot to think about. Other albums, like Moving Pictures, are much more popular, receive much more acclaim. But this deserves a place in the pantheon of Rush's best. There is a lot that makes this more than just another album.

Quick disclaimer here- Rush is my absolute favorite band of all time. They just his the perfect, unique sweet-spot for me, an incredible blend of musicianship, listenability, and high-level concepts of philosophy, history, science-fiction, and fantasy. No other band has ever been able to achieve quite the same thing, although Dream Theater does come close.

All of those elements are on full display in Clockwork Angels. Geddy Lee, the band's frontman, singer, bassist, and keyboardist (often all at the same time) has repeatedly described this album as their "best work" and honestly, I think he's right. The songs themselves are all masterfully constructed, each one distinct and interesting in its own way. The virtuoso musicianship of these three guys had not faded when they made their final effort. BU2B is a heavy, powerful grove; the title track is truly epic; The Garden, the final song on the album, is one of the few songs that makes me tear up every time I hear it.

It's when you take the album as a whole, however, that the true depth of its mastery is revealed. Rush's first and only concept album (as opposed to individual songs), Clockwork Angels shares the epic secondary world vision of 2112, but now set in a dystopian, steam-punk fantasy world (I say fantasy because of the inclusion of semi-divine elements with the character of the Watchmaker). Following the structure of a High Adventure, the album tells the story of a young man's life as he leaves his home in the apple grove, traveling to the city in search of adventure, excitement, and fortune. Many events and trials befall him, tragic and perilous, shaping his path and eroding away his orthodox world-view, causing him to descend into cynicism. In the end, our main character (named Owen in the novelization) reflects on the life he's lived, the life he left behind, and the nature of what it means to live a full life.

Neil Peart, the band's drummer lyricist, and principle architect behind this story, is firing on all cylinders with this one. If you've listened to other Rush pieces (particularly Freewill) you'll be aware of his world view, particularly in regards to religion, and you can feel that in many places in this album. Peart expects the listener to hear what his character is saying and second guess them based on the implications of his word choices ("Blind men in the market, buying what we're sold,"). Peart guides us through the stages of this man's life, from burgeoning youthful optimism, down into jaded pessimism, and finally to an aged, zen-like acceptance of life in its whole depth, breadth, and measure.

If you're going to give this album a try, do your best to listen to it actively. Dissect Peart's lyrics and compare the words used with the implications carried by the tone of the music which accompanies them. It'll be an interesting experiment.

I'll leave you now with The Garden, the final song on the album. You don't need to have listened to the rest of the album to be able to enjoy this piece. Peart passed away in January of 2020. I'm glad that this was the note he left us on.

"The measure of a life is a measure of love and respect, so hard to earn, so easily burned. In the fullness of time, a garden to nurture and protect."