Not only is his technical skill still nearly unmatched, but his simultaneously more mechanical and yet refined style here makes for some mesmerizing work when combined with the other instruments. Of course, Neil Peart's drumming helps in numerous ways too. The initial atmosphere of "The Body Electric" actually introduces a slightly hopeful mood with it being in the key of A-Major and having slightly more calm vocals from Geddy, until the famous "1001" chorus brings back the feeling of fear and anxiety to the table. "Between the Wheels" is one of the best examples, its intro combining an incredibly heavy Drop-D guitar riff with dissonant synth jabs so two moods collide brilliantly into one tense hard rock track. Most of these songs wouldn't be nearly as effective without the keyboards creating some bleakness or tension in the backdrop. Not only are they a bit scaled back to let the guitar playing shine, but they're also necessary to bring out the album's atmosphere. The biggest reason this record surpasses Signals in terms of composition is that the synthesizers actually have more of a purpose here. The music, of course, mirrors the lyrical content perfectly. The songs are usually incredibly bleak but never in an overly dramatic way, as revealed in "Red Sector A"'s gritty portrayal of concentration camps during the Holocaust other dark stories include a loved one's death in "Afterimage" and one's internal fear and struggles with "The Enemy Within." With 1981's Moving Pictures, Rush largely ditched their fantasy themes for more realistic subjects, and Grace Under Pressure essentially reveals the pinnacle of this lyrical style. But beyond the music, the "pressure" theme and the darker lyricism really give off a more human feel than in previous albums by the band. There's a constant contrast musically between a richness and coldness, with Alex's resonant guitar chords and Geddy Lee's dark synth arrangements working off each other beautifully. True to the album's title, Grace Under Pressure tackles the theme of pressure and its varying effects on different people. But the way they're both used is drastically different from Signals or any previous Rush album much of this comes from the atmosphere, which is easily Rush's darkest and most fascinating yet. And yes, there's also a larger emphasis on Lifeson's heavy guitar work. Yes, there's still a pretty large amount of synthesizers being used here. ![]() ![]() And what did everyone get? Pretty much both and neither of those at the same time. Many clamored for a return to the band's more hard rock-oriented take on progressive rock music, while others were becoming curious about Rush's continued experimentation and odd progression. Even with a warmer reception in recent times, many fans remain divided on the album's foray into 80s synth rock and Alex Lifeson's increasingly subdued guitar role even Rush themselves didn't enjoy the record, which led to them dismissing producer Terry Brown in favor of someone new. Looking back at the band's entire discography, Signals was probably the biggest risk Rush had ever taken musically.
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