It is clear that Alex Lifeson and vocalist Maiah Wynne are kindred spirits, despite the fact that they discovered their musical means in numerous eras.
The Rush guitarist joined us from his Toronto studio, with a bevy of various devices on the wall behind him. Wynne was equally surrounded by a tantalizing collection of issues with strings – and even some others with out – in her Portland studio.
Lifeson and Wynne felt a inventive freedom mirrored in these settings, following wherever the muse would possibly take them and utilizing no matter instrumentation the music referred to as for. At occasions, they realized some issues maybe didn’t fairly match (banjo, in Lifeson’s case). However as their new band Envy of None took form alongside Lifeson’s longtime affiliate Andy Curran and Alfio “Alf” Annibalini, they reveled in with the ability to work with out boundaries.
All 4 members labored collectively in true collaboration, despite the fact that they have been separated by the continued pandemic. Their fleshed-out concepts ultimately grew to become the band’s self-titled debut album, set for launch on April 8.
Curran has beforehand cautioned followers to handle their expectations, since Envy of None is to this point faraway from what they could anticipate to listen to from a member of Rush. Nonetheless, it ought to come as no shock to those that heard Victor within the ‘90s that Lifeson likes to discover new horizons. He ups the ante with Envy of None, because the group mixes darkish melodies with modern pop, stylistically weaving various, industrial and synth rock collectively throughout 11 tracks.
Lifeson and Wynne joined UCR upfront of the album’s arrival to debate the way it all got here collectively.
You’re making some waves with the information that you simply’re auctioning off a few of your guitars. However it seems such as you nonetheless have a number of issues round to make music.
Alex Lifeson: I packed them up a few weeks in the past and, and I assumed I had a number of guitars left. Then, I began counting [what’s at] my previous studio and [in] storage, and ended up at like 30 different guitars. So my toolbox remains to be fairly full.
Final time we spoke, you had simply moved into a brand new house and arrange a brand new studio house. Is that the place you’re immediately?
Alex: Yeah, yeah, we moved in right here in March [of 2021]. And it is superior. I like this room; this room is simply nice. It sounds good; it is an excellent room. It is vibe-y to work in. You recognize, I’ve obtained all of these things, and you’ll see all of my previous analog gear is right here.
What is the story concerning that banjo behind you?
Alex: I snuck it in. My spouse doesn’t comprehend it’s there. [Laughs.] I obtained that banjo years in the past, as a result of I assumed it will be sort of cool to learn to play banjo. I feel I’ve owned that factor for 20 years and I’ve used it on some stuff that I wrote previously – you understand, simply my very own private sort of stuff.
Maiah and I, you’ve heard the document. “Outdated Strings,” for instance, when Maiah submitted the unique model of “Outdated Strings,” it was uptempo and it had an actual country-ish swing to it. I put mandolin and mandola on it, and did a banjo half for that music. We spent about two days simply constructing that music up. Then, Andy and Alf’s model was half-time. There’s one thing so evocative about it that we simply switched gears. So we put that association apart and began engaged on the present model. Maiah goes to re-release the unique model, I feel, together with her album. However there’s banjo on “Kabul Blues” to present it a sort of character.
Maiah Wynne: Yeah, I’m giving the banjo a house on my document.
Maiah, “Outdated Strings” started as certainly one of your songs initially, proper?
Maiah: That was certainly one of my songs that I placed on the document that I had them form of revamp. Really, I wrote that music on a dulcimer however once I wrote it, it was rather a lot quicker paced. It was form of double timed. It had the dulcimer and Alex recorded banjo and mandolin. I had some electrical guitar and drums. It had a really completely different vibe however the vocals have been precisely the identical. They gave it an entire new feeling. Andy took it and took the instrumentation out and form of half-timed it however the entire vocal layers have been the identical, so it actually simply made house for these vocals.
I really feel prefer it allowed the center of the music to actually shine. And all of those textures they added – Alex added some simply attractive guitar layers. It nearly feels just like the vocal and guitar do that actually stunning dance. It’s such a beautiful music. It actually took lots of the distraction away. I benefit from the different model, and I’m nonetheless going to place it on my document, however this model actually will get to the center of the music. The instrumentation actually helps that. It has such an attractive texture. Every part they did and the entire layers they added simply added to the story that’s being advised.
Watch Envy of None’s ‘Look Inside’ Video
It is the traditional factor with songwriting, what to depart in and what to take out.
Alex: Yeah, we regularly discuss [working] within the service of the music. This has been form of a working theme. That’s what this entire document was about. For me, coming from my historical past to work on this challenge that had no guidelines or no expectations [was great]. You listened to the music and it was all about making the music nearly as good as you presumably can. After all, it’s trite to say that. You recognize, you at all times set out to do this, however there was one thing actually particular about that entire supreme. Maiah talked about when she obtained the guitar components to her vocal – I’d labored these guitar components to her unique vocal because it was on the time. It’s fascinating that it transitioned to the half-time so effectively. There was a lot emotion within the vocals, and the best way the lyrics touched me once I was listening to it. That’s precisely the best way I perceived it.
I wished my guitar components to be very a lot a dance with the vocal – not solely to help the theme of the vocals, but in addition to take it elsewhere. I wished them to be a accomplice to it in a means and communicate to one another, by way of that entire illustration within the music. I feel it labored fantastically. It’s probably the most stunning songs I feel I’ve ever heard. I don’t imply to sound like I’m boasting, nevertheless it’s truthfully so stunning and so heartfelt. For me, the guitar work is sort of completely different. It has nearly a pedal metal form of strategy to it. The solo that is available in on the high of the second verse, there’s this very [Jimi] Hendrix-y backwards [part] that follows the vocal. And actually, I simply flipped her vocal and performed to her vocal, after which flipped the guitar in order that it actually, in that backwards mode, follows the vocal. I feel for me, it’s the excessive level of the document.
From a sonic standpoint, each “Canine’s Life” and “Enemy” are unbelievable.
Alex: “Enemy,” significantly. There’s a lot about that that works so completely. There’s a second earlier than the primary verse is available in. It comes out of that keyboard [sequence] and beneath it, you hear this [Lifeson imitates the section], it’s just like the reverbs are sighing – after which the vocal is available in. I get goosebumps, simply even speaking about it. The supply of the vocal, it’s simply, wow. Each time I take heed to it, it’s like, oh my God, it’s menacing and funky and darkish and but highly effective. I imply, it was nice engaged on these things collectively as 4 particular person songwriters.
I’ve obtained to say that Maiah, particularly with one thing like “Outdated Strings,” she was a muse for me. I used to be so impressed by what she was doing. I do know I’m going to embarrass her now – I feel I’ve embarrassed her fairly a number of occasions, truly – however from all of my expertise, I’d by no means labored with somebody that had such an understanding and such an openness about creating her personal preparations. Usually, you’d anticipate possibly three or 4 vocal tracks – you understand, the principle observe, a double and possibly a few concord tracks. Maiah would ship 16, 18 or 20 tracks of the first vocals however then all of those different little issues that come out and in – some with results, some not. It simply confirmed her inventive strategy to writing her components was so full.
I’d pay attention simply to that stuff and never the remainder of the observe – simply these tracks. It will give me so many concepts of how I may play a guitar half round it or manipulate the guitars, so it’s echoing one thing that she’s doing or connecting to it not directly on a really, very primary deep stage that most individuals aren’t even acutely aware of or conscious of. For me, that was simply so thrilling and so satisfying, to be engaged on that stage. I stored pondering, “She’s 25 years previous and he or she’s obtained all of this nice skill and understanding of what her voice can do.” The facility of her voice, the management of her voice – she by no means screams or something. But there’s a lot that interprets with the best way she presents lyrics in a music that replicate what that music is all about. That’s a talent, and that’s not one thing that lots of people usually have – that intuitive talent to create these ranges and have that depth of understanding.
There is a sure vulnerability to the fabric on this album. Had been some issues tough to precise?
Maiah: I feel this document was more difficult for me lyrically, in that it was a extra particular field to create in. Not that I didn’t get to discover lots of completely different areas and genres and concepts. I feel it’s simply because it’s a collaboration, and Andy would usually have a number of phrases or I’d attempt to base issues off of the music identify – like I did with lots of Alex’s stuff – [so] it created an fascinating problem. I fairly loved that, truly. I at all times need to write from a spot of connection, one thing that I can actually connect with. I feel there’s superb songs on the market, superb lyrics. It doesn’t matter what style it’s. However when it comes from the center and when it’s one thing that individuals actually really feel, I feel that’s what makes it a relatable music. It doesn’t matter what the parameters have been, I attempted to make it one thing that I associated to and actually felt. That was a bit difficult at occasions.
“Spy Home,” I feel, is one which was more difficult. How do I make this one thing that I really feel? I needed to sort of create a whole story about that music. That one took lots of tries, however I feel I lastly obtained it. It’s somewhat unusual, nevertheless it works. I feel I did take the chance to attempt to discover some extra private views in a few of these songs. I poured myself into them. You recognize, that’s what you do with music, and I’m not afraid to be a susceptible particular person. I’m susceptible to a fault, I feel. I don’t have a filter. [Laughs.] I simply say no matter is on my thoughts. It’s simple to place that into the music. It was enjoyable going backwards and forwards with Andy on a few of the lyrics. He would give me these little nuggets and I’d simply sit with that for a bit and the instrumental beds, then work out methods to flip these two issues right into a music that felt cohesive and lyrics that felt like they match inside all of those parameters and uplifted the music and served the music. Clearly, I despatched too many layers typically, however there have been simply so many concepts.
Take heed to Envy of None Carry out ‘Liar’
What did Alf deliver to all of this?
Alex: Alf is an engineer. He labored at Metalworks, simply outdoors of Toronto right here. He’s been mates with Andy for a really very long time. He performs guitar. He additionally teaches a recording class at Humber Faculty. I feel the connection between Andy and Alf was as a co-writing crew, however Andy would do lots of the engineering [as well]. I form of knew of Alf earlier than the challenge, however I didn’t actually know him. You recognize, he performed guitar on lots of the songs in these primary preparations that he did with Andy. Andy additionally did a few guitar bits and items right here and there which might be tremendous efficient. I had no downside. Like, I wasn’t the guitarist and I’m going to redo the entire guitars.
I felt free, realizing these components have been nice they usually suited the music. Now, I can go and do my very own silly stuff and wreck the whole lot. I got here to actually respect Alf’s skill and sensibility concerning the guitar components that he was writing. There was one thing about them that simply appeared very acceptable for this model of writing. It gave a great mattress that I felt I may begin to open it up somewhat bit and get somewhat extra experimental, and simply discover different areas of methods to carry the music into one other realm of weirdness or unpredictability – as a result of there’s numerous that character on this document. You’re stunned by lots of issues on this document, I feel.
Maiah: Alf is de facto the glue. He performs keys, he performs guitars and simply provides synth layers and typically packages drums. He’s engineering. You recognize, he engineered and arrange vocal mics for me once I recorded a few the songs in Toronto. He did lots of mixing and including lots of results. I’d undoubtedly name him glue. I really feel like he finds the piece that should go within the music and places it there. It’s similar to, “Oh yeah, that is smart. That’s precisely what wanted to go there.” He finds a strategy to take all of this stuff and make them match collectively rather well.
I do know you have been all collectively in Toronto not too long ago. Did that offer you an opportunity to lastly play a few of these songs collectively as a gaggle?
Alex: We didn’t. A number of weeks in the past, Maiah got here up. We wished to do a number of promotional issues. We wished to do some interview stuff and shoot a video – however greater than something, we simply wished to get collectively and take heed to the document collectively within the room. We had a really small get-together with mainly household and a few mates at a studio, a pleasant funky little studio in Toronto. We performed it again good and loud, and listened to all of it collectively and simply obtained so vibed up. After two years of those restrictions and modifications in our way of life with COVID, it was good to be in a room collectively and have the ability to speak with out having a masks on and all of that stuff. So there was that.
After Zooming and emailing one another for therefore a few years, it was good to have the ability to communicate to one another in particular person, and take heed to what we created and watch one another’s response and really feel it within the room. You recognize, I’ve executed that lots of occasions, however this was actually, actually particular. I felt monumental delight in what we’d achieved and I felt an actual shared sense of unity within the challenge. We’re probably not a band. We’re 4 songwriters who obtained collectively to create some music, however there was a way of togetherness at a band stage within the room. I feel it was necessary that we got here collectively and achieved that.
Creatively, it looks like it will be arduous to close this factor off. Have you ever all continued to work on issues collectively?
Maiah: Yeah, I imply, we simply completed the bonus tracks, not that way back. [Laughs.] We put them in there on the final second. Andy’s already talked about different concepts that he has. I’ve obtained some concepts, as effectively. We’ve this superb outlet now, and when we’ve got an concept that seems like it will be a great match, I’m certain we’ll simply preserve sending stuff to one another and dealing on music and making bizarre issues.
I hope you all get an opportunity to get everyone in a room and play some of these things, even when it is only a livestream. It will be nice to listen to it reproduced in any kind.
Alex: I feel that may be superb. It’s a really cinematic sounding document. I may hear nearly each music as a placement in a TV sequence or one thing, however I can also see it on a stage with dramatic lighting. With the suitable gamers, if that might occur, I feel it will be fairly a reside musical expertise.
Prime 50 Progressive Rock Albums
From ‘The Lamb’ to ‘Octopus’ to ‘The Snow Goose’ — one of the best LPs that dream past 4/4.
You Assume You Know Rush?
