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Including an interview with Chris Herin plus reviews of Stygian Wavz and the Rush R50 Box Set PROG Magazine - March 2025, Issue #158 Words: Julian Marszalek Images: Richard Sibbald |
Alex Lifeson’s post-Rush band Envy Of None make a very welcome return with their second album, Stygian Wavz, which takes its title from the River Styx in Greek mythology. Alex Lifeson and bassist Andy Curran invite Prog for a dip in their dark progressive-pop waters, where they discuss finding their feet, welcoming the muse and embracing a set of very different musical challenges.
Alex Lifeson’s eyes are sparkling with pride and they’re matched by a broadening smile so warm that it could melt the snow that’s piled up outside of his home studio in the Canadian city of Toronto from where he speaks. Behind him hanging on the wall are just a small selection of the guitars with which he’s made his name – there’s a Gibson ES-355 associated with Rush’s earliest days, a few Gibson Les Pauls and some Fender Telecasters among others – and in his hand is a steaming mug of coffee that befits this mid-morning hour. Right now, he’s recalling the tipping point when Envy Of None – the electronica- and industrial influenced outfit formed with vocalist Maiah Wynne, former Coney Hatch bassist Andy Curran and second guitarist and multi-instrumentalist Alfio Annibalini – went from being a project to a band.
“The first time I listened to the whole of Stygian Wavz mastered, I thought, ‘Goddammit, we’re a band! This is a good band!’” he enthuses. “The [eponymous] first album was a project to me, but with Stygian Wavz, there’s something about it. I guess it was the way we worked – we were more connected and I was happy with that.”
For Andy Curran, who joins
Lifeson via video link from Los
Angeles at the ungodly hour of
7.30am PST, the confirmation of Envy
Of None’s change in working status
came through a moment of levity.
“I secretly asked graphic artist Brian
Walsby to draw all four members
of the band as Gerry Anderson’s
Thunderbirds,” he says with a chuckle. “I showed them this poster that said,
‘Envy Of None Are Go!’ Alex said,
‘That should be the album cover!’ and
that was when I knew we were a band.”
And should anybody still be in any
doubt over the sincerity of their intent,
Lifeson stresses that he’s experiencing
the same level of excitement over the
release of Stygian Wavz as he has at any
point since Rush released their selftitled
debut album back in 1974.
“We’re so excited about the album,”
he enthuses. “It’s been a year and a half
of our lives working on this record
from the spring of 2023.”
“And you still get that thrill hearing
it on the radio,” adds Curran.
It’s difficult not to share their
fervour; Stygian Wavz is infused with
a sense of urgency, immediacy and
accessibility that builds on their debut
to take their music several strides
forward with a confidence that oozes
from its pores. As heralded by the
singles that preceded its release – the
filthy electro groove of Not Dead Yet
and Under The Stars’s textured poprock
– the album finds Envy Of None
painting from a broader palette with
bolder brush strokes.
As Lifeson tells it, there was never
any doubt that a second album would
definitely happen.
“We started working on this record
maybe a half hour after we released the
first album,” he says with a laugh. “We
had bits and pieces that were floating
around from the first record. We
started there and more material started
to flow in and that was the seed point
of the project. It really was a concerted
effort on all our parts and we were all
really excited with doing a second
record and we kind of dove into it.”
Following a steady exchange of ideas
and working up bed tracks, Envy Of
None properly hit their stride in the
summer of 2024. Indeed, such was
the level of commitment between the
bandmembers that they jettisoned
their original modus operandi of
layering up the music via file sharing
and remote recording to actually
convening in a studio to work faceto-
face. They lasted just seven days
before reverting to their previous
working methods.
“When I look back at that, I think
we were far more efficient working
individually in our studios,” reasons
Curran. “Maiah didn’t have three guys
pumping opinions into her while she
was recording. That’s what we enjoy
about working individually – there’s
no one piping in our ears. I got the
impression she was much happier
working on her own.”
Lifeson nods in agreement saying,
“I think there’s a vibe when you’re in
the room together, but as Andy says,
it’s difficult not to get distracted by
comments and activity in the room;
everybody gets excited and has an idea
of what to throw in the pot. I totally get
that – with Rush we were all superactive
in all our parts, but I find that
when I’m working at home in this great
little studio of mine, I’m not distracted
and I dive into it. And if I don’t like it
then I can delete it and start over again.
I get into a flow and it’s more efficient
and I work quicker. I prefer to work
independently. I think we’re all skilled
enough to collectively work and submit
our parts and everybody gets it and
everybody feels it. We keep building
a pyramid by sending back files.”
Lifeson reasons that remote-working
frees up singer Maiah Wynne to
experiment with any number of vocal
melodies and harmonies that inspire
the guitarist to come up with new ideas
to send back, which in turn inspire her
further. Think of it as musical tennis.
“Often I’ll do a scratch guitar on
something that Andy and Alf would
send, and I’d send that off to Maiah,”
says Lifeson. “She would do a basic
scratch vocal and that would come back
to me. I’d get so much information
from her vocal and, because she’s
a fucking genius, I get inspired to go
to other places with my guitar parts.
This snowball effect is brilliant with
all these ideas developing and
barrelling forward.”
Warming to the subject, Lifeson
praises the singer’s contribution, role
and development within the band.
“Maiah is the centre of Envy Of
None; we surround her,” explains
Lifeson. “Her vocal arrangements are
the centre of what it is. It’s important
not to step in it. I’m serving the song;
that’s who I am and who I want to be.
It’s different for me now and I embrace
and absolutely adore that. Musically,
she’s my muse. She thinks about music
very similarly to the way I do. We’re
really connected despite the 50-yearor-
so age difference and we really do
walk the same path. And when we
trade back and forth, quite often the
result is a dance that we do between
the guitar parts and the vocal parts.
“From the personal end, I see a lot of
growth in Maiah. We started working
with her when she was 19 so we’ve had
a really cool era with her as she’s grown
as a vocalist and as a person as well.”
The cynical view of supergroups or
side-projects featuring an established
musician is that they serve as an ego
massage or a vehicle for music that was
laughed out of the studio during the
course of the day job. Although they’ve
just released the career-spanning Rush
50, Alex Lifeson is no longer bound by
his former band – the only group he’s
ever played in bar a few guest slots here
and there – which offers him a whole
new musical route to explore. Crucially,
Envy Of None make absolutely no
reference to either Rush or Coney Hatch. This is music that’s made on
its own terms to stand on its own two
legs. It’s all the better for it and none of
the band would have it any other way.
“I can only speak for myself, but
I’m super-proud of my past and
everything that Rush accomplished,”
states the guitarist. “I think we wrote
some great songs and we wrote some
crazy songs and maybe a couple of
duffers, but it’s what I did and I’ve sort
of moved on. I’m so happy and excited
with my life now as one of the folks
in Envy Of None. It’s a whole new
thing for me.”
Indeed. While Stygian Wavz has
increased the number of guitar solos
in comparison to its predecessor, Alex
Lifeson’s initial trepidation in how to approach them within the framework
of Envy Of None soon turned into an
altogether more pleasurable experience.
“I didn’t want it to be too Alex
Lifeson-like,” he says. “I had a lot of
fun because solos, for me, have never
been this flashy thing and trying to be
a show-off. Solos are an integral part of
the song that bring home a point to the
song, and I like to think that the solos
that I do connect very closely with
what the song is about. It’s one more
part of the main body of the song and
it doesn’t stand out as this singular
moment. I want it to feel that it’s in
service to the song.”
So, was Lifeson challenging himself?
“Absolutely! I am challenging myself,”
he says. “I have to be more delicate
at times and I have to step back and
acknowledge and celebrate the amazing
vocalist that’s in this band.”
“In the early stages of the songwriting
when we’re throwing around ideas,
I watch the song develop,” elaborates
Curran. “The solos that Alex has added
usually come after Maiah’s scratch
vocals where it feels like it needs to go
somewhere. The solo punctuates the
song and it’s right there. I don’t ever get
the impression that Alex has popped
something in so that he could shred or
show off. It’s always about the song and
taking it to a plateau level.”
This, says Curran, is all about the
evolving chemistry within the band:
“The courtesy that we show each other
and the amount of rope we give each
other is great. I’ve been in bands before
where there’s been a lot of turmoil and
turf wars and there’s nothing bad in
Envy Of None.”
Surely, with the band sparking off of
each and two albums and an EP under
their collective belt, Envy Of None
must be itching to play live? Or is this
too much to hope for?
“We would love to play live,” Lifeson
replies. “It would really be a great show
with the right lighting and adding
some musicians for a live presentation.
Playing these songs live with Maiah as
the focus with the production and the
sound quality that we could achieve
would be really fabulous.”
But caveats apply.
“Everybody is busy, everybody’s got
stuff and it’s definitely difficult for me
to plan something like that. I wouldn’t
write the idea off and it’s a possibility
if all things can align.”
So, while live gigs are a possibility at
best, one thing that can be counted on
is another album. Right?
“Oh, I think we have a few ideas left
over from the last one,” says Lifeson
with a broad grin, his eyes sparkling
once more.
Stygian Wavz is out on March 14 via Kscope. See envyofnone.com for more information.
CHRIS HERIN
The guitarist on his personal solo album, teaming up with Alex Lifeson, and rumours of a new Tiles release.
Words: Rich Wilson
Portrait: Matthew Parmenter and Hugh Syme
Just over 30 years ago, guitarist Chris
Herin formed US prog rockers Tiles,
who recorded six well-received albums,
prior to going on hiatus in 2018,
following the release of Pretending 2 Run.
Herin has retained a low profile over
the intervening years but has now
returned with his first solo album,
Hiding In Plain Sight. The recording
includes guest appearances from more
than 30 musicians, including Peter
Frampton, Alex Lifeson and Jethro Tull
alumni Martin Barre, John O’Hara and Doane Perry. Herin was
aided in the creation of the album by famed Rush producer Terry
Brown, who helped shape its sound and introduced some of those
musicians. Lyrically, it deals with the sensitive topic of Alzheimer’s
disease, influenced by Herin watching his own father’s challenges
with the condition. With talk of Tiles reuniting, Herin reflects on
the extensive creative process that led to the release of this most
personal of albums.
The Tiles project had a certain momentum, so what prompted you to consider writing a solo album?
Tiles went on hiatus in 2018 when all the vocalists retired. We
haven’t disbanded or anything like that, but
obviously it’s been like a lengthy hiatus. I didn’t
really set out to do a solo album. All through that
time, I was writing and would do little demos
with Terry Brown, the producer, just to have him
catalogue them. I was a little worried at first that
the collection of music strayed a little bit from
what maybe people expect from the progressive
rock umbrella. But then I thought that most
progressive rock fans have a pretty diverse palate,
so I just went ahead and it became this album.
It isn’t a classic solo album, in that you have recruited so many other musicians to perform on it.
In fact, towards the end of recording, the record label said, “This
all sounds great, but I don’t really recognise any of your lead
guitar playing.” So, finally, I did give in and did solos on a track
called A Wrinkle In Time. When the Peter Frampton idea came
up, I certainly didn’t say, “Well, we can’t have Peter play because
I want to play that solo.” I was bringing in friends and notable
guitar players to help out. Then we stumbled on some of Terry’s
connections; Terry is responsible for Michael Sadler from Saga,
Peter Frampton, Alex Lifeson, Kim Mitchell. So that was the
conduit through which they were invited to participate, and
thankfully agreed. We took care to match the musicians’ style
with what we were looking for with the song, especially vocalists
and drummers.
When you’ve got musicians like that, you would give them completely free rein to do whatever they want?
Yeah, and a good case in point is when I’d asked Martin Barre to
contribute a guitar solo. He was intrigued because Doane Perry
had already laid the drum track, so it was kind of fun for him to
play again with Doane, virtually, so to speak. When we got his
tracks, he did so much more than just the guitar solo. He played
the flute, mandolin and additional rhythm guitar. So he did it all,
even though that wasn’t really what I was expecting, but I certainly
didn’t complain because it turned out so well.
Have you always admired Alex Lifeson’s work?
For a very long time. He plays on a song called Second Ending, and
it’s a very moody and atmospheric-type piece. I’m sure all us Rush
fans know that Alex has moved away from a lot of soloing and
does like to work with the different textures. In fact, you probably
wouldn’t know it was him unless you were told. It’s not a lot of
flashy rhythm guitar playing or soloing. We would get multiple
takes from everyone and it was so much fun listening to how Alex
came up with those textures and how they interlocked. I’d almost
like to do an alternate mix of it, where it’s all stripped back, and let
Alex’s art carry the arrangement. I think people would really be
interested in hearing that.
Did you find writing the lyrics about your father difficult, or was it quite cathartic?
It wasn’t something I set out to do at the inception of the project.
The first couple of lyrics tended to reflect on the experiences my
family and I had with my dad’s Alzheimer’s condition. Even though
he passed away in 2011, I’m always writing lyrics, so I had all of
these sentences from that time that I could draw upon. Once the
first two songs were heading in that direction, I thought it was
a good opportunity to make that the theme of the album and then
donate the proceeds to Alzheimer’s charities. I had to make sure
the lyrics didn’t drift into too depressing a territory, as it wouldn’t
be a fun listening experience for people. If you didn’t know that
it was the theme of the album then the lyrics could be interpreted
in other ways. Writing them definitely had an element of struggle
to it. In fact, [after] I got them finished, I thought if I don’t ever
write lyrics again, I’m not sure if I’d be too bothered.
What are your thoughts on taking this project forward?
The problem with playing live would not be the performance
but preparing and staying rehearsed. I could get Matthew
Parmenter, who sings on a bunch of the songs and is in the band
Discipline, and Jeff [Whittle], the Tiles bass player, and come up
with some acoustic versions. We could maybe do some sponsored
events with the local Alzheimer’s Association. That seems pretty
feasible, because all the songs were written on acoustic guitar.
But I’ve already started writing some new stuff that would be
earmarked for Tiles. That would be a fun thing to kick back into
gear, so I think there’s about half an hour’s material written for
a new Tiles album.
Hiding In Plain Sight is out now via The Laser’s Edge.
See chrisherin.com for more information.
ENVY OF NONE: Stygian Wavz (KSCOPE)Second album from Alex Lifeson’s dark prog-pop project.
It’s not about that guy from Rush anymore; not that there’s
anything wrong with him!” Alex Lifeson says about Envy
Of None’s second album. The second album from the
Canadian group initially put together by former Coney
Hatch bassist Andy Curran and producer/keyboardist Alfio
Annibali before being joined by star-signing Lifeson and
singer Maiah Wynne certainly cements their unique sound,
but dig deep and links to the ex-Rush guitarist’s past exist.
‘Stygian’, meaning ‘very dark’, has etymological roots
in the River Styx from Greek mythology, as mentioned by
Rush in 1975’s By-Tor And The Snow Dog. Fifty years on, the
syntactically maverick title Stygian Wavz refers to what
Lifeson calls “turbulence at the gates of Hell”. Precisely what
he’s flagging up is unclear, but the phrase works well as
a descriptor for the dystopia that’s seemingly unfolding.
As on their 2022 debut album, Wynne is crucial to Envy
Of None’s appeal. Her sultry, unflustered vocals, sometimes
as much breath as note, give a slightly gothic tinge to the
electronic prog-pop/industrial rock material on offer. Nine
Inch Nails and Garbage once again seem to be reference
points, but the songwriting is stronger this time. It’s evident
that, like the foursome have a stronger sense of each
bandmember’s strengths and how best to marry them.
Where driving, rather funky opener Not Dead Yet raises
a middle finger to those in the music industry dismissive of
artists in their twilight years, the album’s penultimate song,
The End, seems less defiant, wholly acceptant of mortality.
Lyrically, there’s also something Neil Peart-like about the
latter’s altruistic message: ‘What you get is what you give’
sings Wynne over dark chords with gravitas.
It’s clear from Stygian Wavz that Envy Of None aren’t just
a side-project. Witness the surety of the chewy, analogue
synth and skanking guitar textures on Raindrops, or the
powerful, driving The Story, wherein Wynne’s airy vocals
seduce again. Alex Lifeson being Alex Lifeson, moreover,
it would be remiss not to report that he plays at least four
– maybe four and a half – actual guitar solos on Stygian
Wavz. The one on dark ballad Under The Stars is particularly
gratifying. How great to hear those colours in his palette
being used once again.
Now that Envy Of None look like they’re here for keeps,
it’ll be interesting to see what bearing that has on Lifeson’s
former Rush bandmate, Geddy Lee. Will he, too, be
galvanised into joining or forming a new band, teaming with
old friends or newer, younger talents? It’s certainly done
Lifeson a power of good.
-JAMES MCNAIR
RUSH: R50 (MERCURY/UME)Not so much a greatest hits as a celebration of an unmatched career.
For a band built around musical precision, timing wasn’t
always Rush’s strong point. In 2015, they played their
farewell R40 Live Tour, despite it actually being 41 years
since their debut album. Now comes this 50th-anniversary
celebration, similarly a year overdue. Better late than never.
R50 is a luxurious celebration of the venerated Canadian
trio’s career. It’s available in a range of box set formats, from
the basic four-CD-plus-104-page hardback book version
(priced at around £80) to the superfan-serving Backstage
Exclusive Super Deluxe Edition (available for just over £300).
There’s inevitably been consternation at the elevated prices
in the corner of the internet where Rush fans lurk, but caveat
emptor applies: no one is being forced to buy it.
What about the music? R50 does a great job of charting
the band’s journey from nerdy The Who and Led Zeppelin
freaks to elder statesmen grudgingly accepted by the cultural
gatekeepers who once derided them, cherry-picking at least
one song from each studio and live album. Fans can fulminate
over the merits of the tracklisting – “Where the hell is The
Fountain Of Lamenth?!” – but it hits all the right beats.
The big draw musically is the scattering of rare and
unreleased songs. Their debut single, an enthusiastic but farfrom-
classic cover of Buddy Holly’s Not Fade Away, and its
B-side, You Can’t Fight It, resurface here for the first time
since they were originally released in 1973. More intriguing
are the rough-arsed cover of Larry Williams’s Bad Boy and the
Rush original Garden Road, both recorded live in Cleveland
in 1974 and never officially released before on any format.
Neither are jaw-dropping, but they’re fascinating as historical
documents, though it’s a shame they didn’t exhume the
similarly lost-to-time Fancy Dancer, too.
The real wallop comes at the other end of the journey. R50
closes with the moment that brought the curtain down on
their career: a medley of What You’re Doing and Working Man,
recorded at their final show, at the Los Angeles Forum on
August 1, 2015. Geddy Lee’s voice is all over the place, but it
doesn’t matter – the emotion of it all is inescapable.
Of course, there’s an unavoidable poignancy to this delayed
milestone. Rush never made their 50th anniversary, never
mind their 51st. The farewell tour was just that – it seemed
unlikely that Neil Peart was ever going to change his mind.
His death in 2020 put the matter beyond doubt. Rush still
exists in name, but Lee and Alex Lifeson have been clear
about not wanting to bring it back as a working proposition,
and nor should they. Punctuality aside, R50 is a fitting
testament to the brilliant band they were.
-DAVE EVERLEY
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