All the negative stereotypes of rock drummers wither and die in the shadow of Neil Peart.
as well as the adventurous “By-Tor,” Peart began carving out a niche within the then-booming prog world. While capable of dazzling complexity, he never used it to obscure a song’s melody or its structure, as many accomplished wizards of prog, math rock, and metal have. And while clearly in possession of an anthemic, pop-friendly pen -- Rush songs have, baby -- he never gave into all-out accessibility.
But despite the way he appeared onstage, a solemn figure behind a fortified temple of shiny hardware that costs more than your life savings, Peart was so devoted to craft over empty extravagance. Listen to his beats. They often start off sounding simple, familiar... until there’s that unexpected extra beat, or that unexpected missing beat, at the end of a measure.
Peart certainly did have a penchant for rather silly mashups of mythology, religion, philosophy, fantasy, and sci-fi— just look at the “Cygnus X-1” suite’s tale of spaceship going through a black hole and coming out amid a war between followers of Apollo and Dionysus . He was, however, at least a bit conscious of how abstract and nerdy it all was, which is more than you can say for many of his prog peers.
If you’ve paid attention to Peart’s lyrics as a whole, this response makes much more sense than some affirmation of neo-facsism. It’s what Peart was at his core -- an optimist. Beyond the idealistic parables and sometimes-clumsy combinations of folklore and fantasy, the pure positivity of Peart’s writing is what truly shines.
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