What The Hell Happened To... 06.08.09: Rush - Presto

Posted by Dan Marsicano on 06.08.2009

This week, Dan Marsicano takes a look at a later-day Rush album and puts extreme metal band Anaal Nathrakh in the spotlight!

The Introduction

Welcome to the second-to-last edition of What The Hell Happened To… I'm your host, the man who finally packed up all his stuff and is waiting for his mom to pick him up, Dan Marsicano.

Yes, I'm still serious about ending What The Hell Happened To…. For those unaware, I have been writing this column since November 2007 and have decided to shut it down, as my duties with the other web sites I write for have overshadowed the importance of this column. Next week is my last edition, which will also be my 78th edition, if my math serves me correct.

Last week, I decided to show off my favorite three editions of this column. Like any column, there are the good weeks and bad ones, but a few of them still stick out in my mind to this day. In September 2008, I made all the editions of that month fan-picked selections, an experiment that turned much better than expected. The first album, Shadows Fall's The Art Of Balance, was picked by Andrew Crow, who was also a guest writer. For those who missed this fantastic edition, here it is in all its glory.

Cheap plug time! I am currently writing for the Heavy Metal section of About.com, Metal Underground (under the alias heavytothebone2) and SMN News. You can also find me on Facebook or follow me on Twitter.

I wanted to make sure that What The Hell Happened To… goes out in style the next two editions, and what better way to start that off than with a look at an underrated Rush album, 1989's Presto. Any fan of the band knows that the mid-80s weren't exactly the creative highpoint of the band's. However, Presto was the start of the turnaround from the heavy synthesizer-era of the band into a more traditional rock sound.





The Band

Geddy Lee-Vocals, Bass, Synthesizers
Alex Lifeson-Electric and Acoustic Guitars, Backing Vocals
Neil Peart-Drums, Electronic Percussion


The Track Listing

1. Show Don't Tell-5:01
2. Chain Lightning-4:33
3. The Pass-4:52
4. War Paint-5:24
5. Scars-4:07
6. Presto-5:45
7. Superconductor-4:47
8. Anagram (For Mongo)-4:00
9. Red Tide-4:29
10. Hand Over Fist-4:11
11. Available Light-5:03


The Analysis

Rush hit it big between 1976-1982, starting with the epic 2112 and ending with the album that made Rush a marketable band, Signals. During this time, the band seemed to do no wrong, with a creative streak that included progressive rock classics "Tom Sawyer," "The Spirit Of Radio," and "Jacob's Ladder." For a three-piece, Rush had great power, technical ability, and deep songwriting. Even in a fickle US market, where disco and funk tore up the charts, Rush still found a spot in the Top Five several times during this time period.

The 80s would prove to be a transitional time for the band, as synthesizers started to maneuver their way in, and the longer, more multi-dimensional tracks were toned down considerably. Rush's fan base still stuck with the band, but those longing for the days of old were left in the dust. Most people were disappointed in the slowly-diminishing guitar work that made Lifeson one of the best musicians in the genre.

1989's Presto was another transitional album for Rush, this time leaning away from the synthesizer-heavy sound and bringing the guitar back to the forefront. The synthesizers were still there in a strong capacity, but they were used more for atmosphere and background sound instead of a primary tool for every song's main melody. Sales pushed the album into Gold status and up to #16 on the Billboard charts, behind singles "Show Don't Tell" and "The Pass."



"The Pass" Live 2002 (Credit: RollTheFemers)


Like many of Rush's later albums, Presto has largely been forgotten, especially during the band's recent live shows, save for an occasional performance of "The Pass." It's a real shame that fans, and the band to a certain extent, haven't warmed up more to Presto, as there seemed to be a renewed sense of energy and motivation from the band that wasn't present in the previous couple of albums.

"Show Don't Tell" was the big hit from Presto, landing at #1 on the US Mainstream Rock charts. It's a catchy opener, with Lifeson's guitar right up front in the mix, at least for a short period of time. The bass work is strong as always, with Lee letting loose in the bridge with some well-timed lead work that showcases why he is one of the best players in the world. Peart is a bit subdued in his drum work, as seems to be the case on a lot of Presto, but he always adds in some unpredictable fills that is almost a wink at Rush's old fan base that Peart still has what it takes to match skills with the big dogs of progressive rock.

On the Rush In Rio DVD that came out in 2003, Lee stated that "The Pass" was one of the band's favorite tracks. With a dark atmosphere, lyrics dealing with the topic of suicide and great vocals by Lee, "The Pass" is one of the highlights of Presto. A moment of beauty peaks through the blackness with Lifeson's soaring lead work blending together with a piano melody deep in the background.

Rush continued to push themselves creatively on Presto, even as their music was at its most commercially appealing. "Scars" has a strong worldly vibe, due to the tribal percussion, with a hint of funk included. Executed by a mix of drums and electric percussion, it fits perfectly into the sound. The title track is an acoustic number that sounds like a prelude to what Rush would write on Snakes & Arrows. The synthesizer actually enhances the mood and tone of the song, one of mystique and wonderment. A melodic solo from Lifeson only elevates the track to a higher level.

The piano is a key aspect to many of the later tracks on Presto. While keyboards and synthesizers have always had their place in Rush's core sound, the piano hasn't been used as much until Presto. "Red Tide" and "Available Light" have a strong piano presence that Rush works with to add textures and emotional impact that wouldn't work with synthesizers in its place. The latter, in particular, is one of the most underrated songs Rush has recorded, with a fantastic Lifeson solo and a gloomy atmosphere that surrounds every note and melody played.

For the first time in years, Lifeson's playing took center stage on Presto. The one song where this is notable is with the fast-paced "Superconductor." The lyrics are cheesy, but Peart's playing is complex and frantic, with Lifeson's having no trouble keeping up. It's definitely a punch to the throat that Presto needed after consecutive tracks of slower material. If there was one song I wished Rush played live more often, it would be this one. I can imagine that the live crowd would react warmly to this burst of energy.



"Superconductor" Live June 27, 1990 (Credit: RollTheFemers)


While Presto was easily one of the most consistent albums from Rush since Grace Under Pressure, there were still some filler spread throughout the album. I've never been a big fan of "Anagram (For Mongo)," which kills any momentum built up from "Superconductor," and "Hand Over Fist," placed in-between two great tracks at the end, "Red Tide" and "Available Light." These two tracks aren't entirely pointless, as the former has a all-too-brief acoustic guitar/piano interplay that is subtle, but effective, and the latter has a decent melody, but a mediocre chorus brings it down.

The production was done by the band and Rupert Hine. Hine was brought in to replace Peter Collins, who would come back to produce with the band again in the late 90s. The production is solid, with everything clear, if a little too glossy and dated (as a lot of 80s rock albums sound). The mix is even better, since the synthesizers are pushed into the background a lot and not given precedent over the other instruments, a far cry to their mid 80s work. Hine would stay with the band for one more album, 1991's Roll The Bones, before Collins was re-hired.

If Rush's career could be split into eras, Presto would be the start of the "Return To Hard Rock" era that encompasses most of the 90s. Rush would start to push the synthesizer and keyboard work further and further away and just get back to the basics; three guys with three instruments and nothing more. Today, Rush is still relevant, with their fan base one of the loyalist in the world. Presto is a great Rush album that is largely forgotten today, a victim of circumstance and positioning in the band's extensive catalog. With the exception of a few duds near the end of the album, Presto is one of the best Rush albums of the 80s, even rivaling Moving Pictures at select moments.


Who The Hell Is…Anaal Nathrakh?

MySpace Page: Anaal Nathrakh


I have had the privilege of listening to some of the weirdest, craziest, and most eccentric bands I would never had even blinked an eye at if it wasn't for being a music critic. United Kingdom duo Anaal Nathrakh is probably at the top of the list as one of the extreme bands I've had the pleasure of listening to. Describing their sound to the average person is like explaining the plot to "Donnie Darko;" its way too complicated to get into unless you have some time on your hands.

Ok, since some of you are intrigued enough to continue reading, I'll do my best. It's a mix of grindcore, death/black metal and industrial, with soaring clean vocals mixed together with violent screams from the depths of Lucifer's unholy soul. That may have seemed easy, but I don't think that sentence even does the band enough justice.

Formed by vocalist V.I.T.R.I.O.L. (Dave Hunt) and guitarist/bassist/drum programmer/everything else Irrumator (Mick Kenney) in 1998, the band has spent a decade slowly building a reputation as one of the most creative and unpredictable bands in metal. Their music is relentless, seemingly nothing more than a wall of sound that has no distinguishable characteristics to leave an impression. However, those with patience and open ears will start to warm to their sound, as I did.

As time goes on, the music starts to make sense, even becoming somewhat catchy. Listen to a song like "Shatter The Empyrean" and "The Final Absolution" and tell me those choruses aren't memorable. You will be singing along in no time, as death, destruction, and the end of God pulsate out of the listener's speakers.

For some, it will be just random screams and wild guitar playing, with no real musical qualities. That is an understandable criticism to have; it wasn't easy for me to get into Anaal Nathrakh, but once I did, I was hooked. So check out their MySpace page and here are a few clips to see how crazy they really are in their live shows. For those interested in getting into the band, their 2007 album Hell Is Empty, And All the Devils Are Here is a great place to start.



"Do Not Speak" Live May 2008 (Credit: RapeJesus)



"Pandemonic Hyperblast" Live May 2008 (Credit: ratchet696)


The Conclusion

Well, it's come down to this. The final edition of What The Hell Happened To… is coming up next week. It's been a insane fucking ride, but one that I wouldn't change for the world. Don't expect anything too crazy; it'll be just like another day at the office, with a long thank-you list attached on.

I haven't decided on the last album yet; I'm still up in the air, but I guarantee you it will be either A: an album you loved, but nobody else knows about, B: an album that nobody knows anything about and will get the least amount of hits of any of the other editions, or C: a universal favorite that will garnish me 100 comments thanking me for all the hard work I've put in over the past 20 months.

I'm leaning heavily toward B right now. Come back next week and find out what tricks I have up my sleeve for the last ever edition of What The Hell Happened To….