Review Summary: It is not Rush, but that’s not always a bad thing
It is amazing how sometimes the end result can differ from expectations, even when, it would seem, all the parts are familiar. Let’s take the band Envy of None as an example, which recently released its eponymous debut. It consists of vocalist Maiah Wynne, a singer-songwriter who predominantly works with folk rock; bassist Andy Curran, one of the members of the Canadian group
Coney Hatch; record engineer and guitarist Alfio Annibalini; and the most famous band member, guitarist Alex Lifeson (just in case, he used to be in
Rush). So what kind of result can one expect here?
Obviously, a single option comes to mind: something in the hard rock vein. It can be traditional or progressive, but hard rock still. The pedigree demands it, so to say, and the average age of the instrumental backbone also leads to the conclusion that they are going to stick to their guns (don’t change horses in midstream, as the proverb says).
KK’s Priest is one of the recent examples of this approach. Well, in our case the result is not what we expected.
Yes, the sound of Envy of None can be characterized as “rock,” but only because it involves some of the instruments typical of the genre. Other than that, almost nothing ties what is proposed on the album to the potential expectations and musical background of each band member. Instead, it is quite the opposite: all of the instruments stick to simpler parts and are, as it were, pushed to the background, functioning primarily as melodic pulsations.
Envy of None does not rely on epic solos or powerful riffs, which, again, could have been expected. No, the musicians prefer to focus on tone and atmosphere, creating one of the musical poles that holds the album together without stealing the show.
This approach allows them to highlight the work done by vocalist Maiah Wynne. With her ethereal and haunting melodies, she accentuates the atmosphere created by her bandmates, but also infuses a bit of restraint to ease perception. She serves as a kind of order in the musical chaos.
On
Envy of None, the band balances between atmosphere and conventional structures. The opening track
Never Said I Love You is an excellent cut and an electrifying pop song, which is not devoid of a certain darkness. It is also a kind of anomaly on the album, as there is no other track quite like it. Instead, they move away from such outright poppiness and focus more on ambient atmosphere.
Shadow provides an eerie feeling of the swampy South combined with dark rhythms akin to
Depeche Mode. Other tracks possess a hypnotic quality (
Liar,
Enemy), bringing to mind comparisons to
Nine Inch Nails or
Massive Attack, although not as aggressive. Choruses on
Dog’s Life flirt with industrial, but, again, do not involve its typical heaviness. At times the band takes a breather and goes for melancholic contemplation, as on
Kabul Blues or
Old Strings.
All in all,
Envy of None turned out to be a surprise, especially for those attracted to the project because of Alex Lifeson’s involvement. But do not expect to see some kind of Rush here – at least, not their classic sound. Instead, to continue with the comparison, the album may be of interest to those appreciating their
Grace Under Pressure period. In any case, it is a joy to see musicians not resting on their laurels and trying their hand in something new. It is also a joy to see results as captivating as this. You can consider this reviewer a fan of the album who is eagerly waiting for their next release.
