Here’s another batch of tunes that have come across my radar in recent days. Admittedly, one of these reviews is not exactly a “quick hit,” but it was too big to limit to a single paragraph. I hope you’ll forgive me.
MICHAEL FISHER, Letting Go (2025). Multi-instrumentalist Michael Fisher has created an interesting sonic stew of synthesizers, electronic grooves, and dynamic guitar work. Add in his smoky, low-key tenor voice and you get quite the combination, indeed. It’s a far-less noisy Nine Inch Nails moment in certain spots, digging into a little bit of the darker aspects of the world.
https://michaelrfisher.bandcamp.com/album/letting-go
RUSH, Rush 50 (2025). There’s nothing wrong with putting a little more Rush out into the world, and here we are. This is expansive box set isn’t what some might think it is — a money-grabbing greatest hits collection. No, no, no! This is our favorite band approached from a slightly different angle.
We get to hear the evolution of Rush from the moment they hit the studio in 1973. The tracks recorded with original drummer John Rutsey are quite strong, indeed. More than a little head-bobbing becomes necessary. Even Geddy Lee’s “hamster on helium” vocals fit the vibe and sound cooler than ever. Guitarist Alex Lifeson comes out swinging from track one, and never lets up.
As has been documented, the addition of drummer Neil Peart takes things to the next level. With Rutsey, Rush is a solid classic rock band. With Peart, the band sees what is truly possible and goes for it!
As said before, this is not a greatest hits collection. Even most of the obvious tunes — many of them presented live — don’t feel like no-brainers. They also show off the band’s sly (or dry, depending on your point of view) sense of humor. Who else would feature songs from their hometown of Toronto (airport code YYZ), then present the song “YYZ” itself as played in Montreal during the same tour!
Rush 50 puts on full display the evolution of a band that never rested on its highly creative laurels. They kept reaching for the stars until the very end, be it their final studio album Clockwork Angels, or their final live show in Los Angeles in 2015. Both are documented here. It brings a bit of sorrow to fully comprehend that this band will never thrill us again now that Peart has passed away. It’s a true loss.
That being said, Rush 50 scratches an itch many of us didn’t know we had. Is it the final true document of one of the most legendary low-key rock bands of all time? One can never know. But this collection puts a beautiful bow on things. It is nearly five hours incredibly well spent.
YES, Yessingles (2025). Progressive rock was never designed for radio consumption. The songs are long, themes are established, and the music takes its sweet time getting where it’s supposed to go. To whittle these tunes down to radio edits tends to remove important or fun bits, and fans who listen to radio edits hear what’s missing just as much as what’s present. Such is the case with Yessingles, an overview of the band’s work over the past 50-plus years. The music is there, but it’s also absent. Editing Yes is a tough row to hoe and not to be wished on anyone. But here we are, this collection of what almost-is, perhaps best suited to newcomers or those curious to know what avid fans have been talking about. If that’s your cup of tea, then by all means go for it. But diehards might be better off sticking with the original albums.
https://yesofficial.manheadmerch.com/collections/allproducts
WE LOST THE SEA, “A Dance With Death” (single). Full disclosure: when it comes to Australian post-rockers We Lost the Sea, my objectivity is all but guaranteed to go by the wayside. Their 2015 album Departure Songs is, to me, absolutely perfect, and I have said as much in my writings. The band has released this single ahead of the July release of their new album, A Single Flower. And it is nothing short of spectacular. This band had mastered the art of tension and release, letting an opening bassline dominate its way into the soul while three guitars, keyboards and drums build a swirling soundscape around it. That’s the tension. And then there’s the release. And then … well, just check it out for yourself.
https://youtu.be/9r97usgJJwo?si=VHsqFnKJP-nYc5dF
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