Review: Envy Of None ‘Stygian Waves’
Let’s be frank here, chances are you’re reading this review because you’re a Rush fan, like me. Whilst the Canadian trio’s drummer and lyricist Neil Peart was an enigma and the most intriguing, and frontman Geddy Lee the one who piledrove the trio to arena-owning success, guitarist Alex Lifeson was the member we all secretly dreamed of having a night out with.
Endlessly hilarious and vivacious, he was an axe-wielding hero who put the grit under Rush’s fingernails. As the music writers, Lee and Lifeson were a classic case of ying and yang: Lee’s melodic sense, which could veer into the mainstream if unchecked (as evidenced by his somewhat banal 2000 solo album My Favourite Headache), kept ferocious and rocking by Lifeson’s seemingly bottomless sonic well of ideas.
Those paying close attention over Rush’s 40-year career would have noticed Lifeson become less interested in power chords and soloing and much more fascinated with creating atmospheric, textural soundscapes with his guitar as time went on. That trajectory began with Rush’s Power Windows (1985), peppered his sole solo album, 1996’s Victor, and became fully manifest on late-period Rush albums including Test For Echo (1996) and Snakes & Arrows (2007).
It is thus no surprise that Lifeson’s work within his, and former Coney Hatch bassist Andy Curran, Envy Of None project is widescreen, understated and cinematic. Those expecting La Villa Strangiato-level virtuosity or Tom Sawyer-esque bombast will be disappointed by Stygian Waves, but for hardcore Lifeson fans, there is much to admire here.
The quartet’s sophomore album opener Not Dead Yet has Lifeson’s fingerprints all over it, with gritty chords and funk-inflected strumming setting the tone. It’s a song that proves Curran and drummer Randy Cooke know how to groove, in a subtle rather than searing way. Maiah Wynne’s sonorous and breathy vocals soar over the panoramic, perfectly produced melange of sound underneath.
Lifeson’s hallmarks of musical curiosity and desire to push the boundaries of his abilities, and our expectations of him, are everywhere…
The Story is a highlight, featuring a rare, scorching solo reminiscent of Lifeson‘s best work from the ‘90s and 2000s. Meanwhile, Under The Stars carries an unmistakable Geddy Lee-style bass pulse, reminiscent of Rush fan favourite Territories from Power Windows. Thrill Of The Chase blends choppy guitar rhythms with a sweeping ambience, Raindrops brings a funkier touch and some rare power chords while Handle With Care ventures into electronic-infused pop, adding an unexpected but welcome variation to the sonic palate.
The whole record sounds like a million dollars, an audiophile’s wet dream. You can feel the hours of craft and attention to detail jump out of the speakers on each track. However, not everything works perfectly. The album’s second half drifts a little, with New Trip feeling more like an extended mood piece than a fully developed song. The title track aims for grandeur, inspired by Wynne’s travels in India and her fascination with The Fifth Element’s blue alien diva, but ultimately falls flat – its ambition outweighing its delivery.
Overall, though, Stygian Waves is an immersive and rewarding listen, and definitely a grower which rewards repeated listens. Lifeson’s hallmarks of musical curiosity and desire to push the boundaries of his abilities, and our expectations of him, are everywhere. Hearing his artistic evolution continue further proves to be fascinating. This album may not be a flawless masterpiece, by any means, but for those with open ears, it offers something undeniably compelling.
Stygian Waves shows that as he enters his 70s, Lifeson remains – along with his Envy of None bandmates – endlessly creative. A decade after the passing of Neil Peart finally freed him from the expectations that came with Rush, his ability to craft evocative, immersive music has seemingly only deepened.
Label: Kscope
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Scribed by: Andrew Field
