Analyzing Rush’s discography is challenging because every volume in their discography is exceptionally well-crafted. The Canadian power trio started with straightforward Hard Rock, evolving over the years into a benchmark for Progressive Rock.
Let’s talk about “Power Windows,” an album that reflects the pinnacle of the 1980s an era where technology was advancing rapidly, allowing musicians to leverage enhanced production techniques.
What can we hear?
A band with clear musical maturity that allowed them to transform their style. The album’s sound is encapsulated in synthesizers, guitars with effects like chorus and delay (typical of the ’80s), and an excellent rhythmic foundation with Geddy Lee’s bass, which is not just a support but an essential part of the band, presenting complex figures throughout the tracks. Neil Peart, one of the most proactive drummers in the world of rock, tones down his style slightly for “Power Windows,” opting for a more precise and complementary approach.
The band perfectly understood the landscape of 1985, an iconic year for pop and rock. We can even hear the integration of pop elements in “Manhattan Project,” one of the band’s more pop-oriented tracks designed to attract a broader audience, similar to “Middletown Dreams.”
The use of space throughout the album is incredible. The constant application of delay and reverb, carefully mixed into each instrument, creates a striking stereo effect a production technique that makes the music sound grand.
A homogeneous work
Entering into “Power Windows” is like traveling to a new galaxy, using an auditory time machine to transport yourself to 1985. Each track shares a similar production sound, making it one of the band’s most “electronic” periods due to their intriguing use of synthesizers, which, to some extent, gives a futuristic sensation.
The band’s progressive influences are present but more discreet. Notably, the solo base in “Marathon” showcases progressive elements, with Alex Lifeson delivering a solo laden with time effects, using his tremolo to add vibrato to the notes. Geddy Lee and Neil Peart contribute a rhythmic bass and drum base, respectively, with unconventional timings. These progressive touches are not aggressive or heavy; they are light and accessible.
One of the highlights in “Power Windows” is Neil Peart’s drum toms, which sound exceptionally defined. In “Territories,” the percussion shines, perfectly mixed to appreciate each piece as if you were listening to the band in a live studio.
Geddy Lee's impressive bass stands out.
In “Power Windows,” we hear one of the world’s best power trios, and it’s expected that each instrument would display virtuosity. Geddy Lee’s exquisite bass lines with a unique tone, created directly by Lee’s fingers, showcase his magic, all while he’s singing.
“Power Windows” is a unique album in Rush’s discography, one of our favorites due to its heavy use of time effects and its “simple complexity” that literally creates a vast space for listening.
What are your thoughts on this album? Leave us your comments!
