Crown Lands: “Fearless” (2023) – Album Review

Summary

Fearless from Canadian duo Crown Lands wears its Rush homage high up on its vest, but retains a character that is less defined by the music of the past, and more derived from it. A captivating sonic adventure, Fearless picks up and runs with the classic Rush baton, but skillfully weaves other influences into the band’s contemporary tone and vision, resulting in a diverse and highly satisfying experience.

Album Info

Introduction

Crown Lands has certainly been buzzing up the prog and classic rock ecosystems of late, and why not? The early release of “Starlifter: Fearless Pt. II” from their 2023 album Fearless made shockwaves among hordes of Rush fans. This 18-minute epic number sounded eerily like a lost track from the 2112, A Farewell To Kings, and Hemispheres era, like a radio broadcast from a parallel universe, accidentally discovered during some gravitational cosmic overlap or something.

I don’t get to write much prose anymore. Indulge me on that last bit.

Anyway, some people screamed “Ripoff!” whilst others yelled “Awesome!”, and my initial reaction was basically both. Initially, anyhow. It sure as heck felt like Rush to me, and rather good Rush homage at that. But why would I bother? I already own the three albums listed above and have listened to them incessantly for decades. Do I really need a Rush tribute band in my life when I can listen to the real deal?

And that’s what gets us to today and our review. Fearless, Crown Lands second studio album, dropped in late March 2023 to heightened interest and expectation among many. I can certainly attest to my own, anyhow. In the interim between my discovery of the band and this album’s release, I inhaled much of the band’s earlier work via the usual streaming channels, enjoying what I heard from the Canadian duo.

And a Rush tribute band was not what I heard.

Featuring Cody Bowels on vocals and drums, and Kevin Comeau on guitars, bass, and keyboards, Crown Lands delivers hard rock/epic prog wonderment while bringing attention to topics like colonization, exploitation, human rights violations, and issues affecting Indigenous Peoples (worldwide but especially in their native Canada).

Bowles, a Two-Spirit Mi’kmaq, brings his personal perspective in regards to Indigenous and gender issues to the fore, whereas Comeau, a Jewish descendant of Holocaust survivors, understands the all-too familiar history of ethnic oppression and genocide. Together they deliver their stories to the table with impressive vocal and musical skills, creating epic music that sounds infinitely larger and more complex than “just” two individuals working together.

But all that being said, is Fearless worthwhile? Do Crown Lands take their influences from and love of the work of Lee, Lifeson, and Peart, and infuse them with their own unique perspective, creating something new and fascinating in the process? Or do they just go for straight homage and tribute without straying too far from the lines? And is the end result any good?

Read on…

Review

Crown Lands wastes no time by opening the album with “Starlifter: Fearless Pt. II”, which spends the next 18 minutes and 23 seconds ensconcing the listener in that classic Rush sound. There’s no mistaking it: this is pure homage right out the 2112, A Farewell To Kings, and Hemispheres. The song is even broken down into 9 segments, each telling the next chapter of the Fearless story.

Speaking of the story, the song focuses on ‘Fearless’, a cosmic entity of some sort that has returned from somewhere to the material realm, finding countless destroyed worlds ravaged by war. Including their own.

Greed, emanating from interstellar tyrants in the depths of space known as ‘The Syndicate’, has consumed the hearts of men. Distraught, Fearless stows away on a ‘Starlifter’, one of many ships in a fleet of powerful intergalactic spacecraft. They in turn discovers an AI prisoner, with whom they merge their mind into a singular being. Together they pose a threat to the Syndicate and their “stellar engine”, and the battle wages on as this new ‘Machine Messiah’ makes a desperate maneuver by veering into the heart of a Black Hole.

Or something. As mentioned in the introduction, the story ties into the themes of colonization, commercial exploitation, and oppression driven by avaricious oligarchs. But as a song, it’s a fine amalgamation of Rush tracks like 2112, Cygnus X-1 (parts 1 and 2), A Farewell To Kings, even a quick nod to The Trees. Any Rush fan can probably point each last one of these out, and more.

The thing is, if you’re going to do this kind of homage, the only way to really make something interesting out of it is when 1) you find the heart and feel of what makes the original source material work, 2) you seamlessly integrate them into your own ideas, compositions, and musical sensibilities, and 3) you have the skill and chops to ensure your scope matches your vision (or at least comes damn close).

So does Crown Lands pull it off with this track? I’d say so. “Starlifter: Fearless Part II” is an ambitious piece and the band succeeds at making something fascinating with it. The homage elements are overt, and there’s no denying them, but once you get past the “Oh yeah, this is the Rush sound we all love!” novelty, there’s a fun song here. If I had to complain, I’d say that Bowles’s vocals get a bit too high and shrill at times, and that the song doesn’t end quite as engagingly as it opens. Other than that though, I was all-in throughout. Bring on Part III, shall we?

Our next stop is “Dreamer of the Dawn”, a more Rush-influenced but less Rush-homage track. If “Starlifter” was mid/late 70s epic Rush, “Dreamer of the Dawn” takes its musical cues from the Permanent Waves to Signals 1980-1982 era. With its exaltations of spiritual liberation, the song proudly displays its catchy hooks and pop melodies alongside the heavier rock elements.

“The Shadow” opens with a very Sabbath-sounding riff before settling into a solid 80s hard rock vibe. Maybe more Triumph than Rush, if we’re going to invoke Canadian power trios. But we won’t. Anymore. This is a solid rock track about overcoming fear, harnessing darkness and uncertainty as power. In a lighter and more energized mode, “Right Way Back” is great fun, a slinky and up-tempo number with hints of new wave and power pop. Here the themes of loss and recapitulation dominate, a yearning for something (or someone) vanished into the cosmos.

“Context: Fearless Part I” provides the prologue after the story has already started, which is about as Rushy as you can get. But I’ll let this pass since the band originally released Part I as an EP in 2021. At six minutes in length, “Context” is nowhere near as epic in scope and composition as its predecessor…er, I mean, its successor. Whichever.

This prequel gives us a bit of (wait for it) context of Fearless’s backstory. In their old world (was it Mars?), they achieved a kind of enlightened state of some sort, and departed their home planet for… elsewhere. Seeking further enlightenment from the wonders of the cosmos, or perhaps some journey wholly inward. Either way, Fearless departs through a City in a dying world, invoking the Wheel of existence continuously throughout (the Wheel imagery also made its way into Part II).

Comeau is doing some incredible work with atmospherics on this track: it really evokes a sense of backdrop and environment the way Lee/Lifeson could achieve so (seemingly) effortlessly together. In many ways, this track feels more Rush sounding while also less overt about it. As such, “Context” is an album standout. Sure it’s Power Windows era Rush (and I love that record), but as a singular piece replete with melodic proggy hooks, it feels playfully inventive and cohesive.

“Reflections” hits immediately with Xanadu right on its sleeve, and then a smidge of Entre Nous on the chorus, but this is another up-tempo (if subdued) rocker. The song shifts time signatures and delivers dreamy cosmic soundscapes to deliver another charming track in the Rush vein. Bur then, I’m also starting to wonder if the entirety of the record is going to stay in this lane or continue pushing past that ethos like they did with “The Shadow” and “Right Way Back”.

Fear not, fair readers. Next we have “Penny”, a stunning yet gentle bit of folksy acoustic fingerpicking from Comeau. This pastoral instrumental piece provides a tonal change of pace for the album by allowing Comeau to flex his instrumental prowess in sweet and straightforward folk melodies. The result is utterly disarming and, shall we say, refreshing? Let’s give it a look/listen, shall we?

“Lady of The Lake” pulls out all sorts of Arthuriana, as the milieu shifts elsewhere. Is this the Britannia that never was, or a future era of conflict between the forces of darkness and light? Something like that. Either way, Crown Lands has clearly dialed up the Zeppelin here. The song exudes darker elements: the acoustic 12-string opening bridges us from the sweet, pastoral “Penny” to the impending doom and warfare found here.

The song takes its cues from “Battle of Evermore”, perhaps a bit too on the nose, but before we can accuse “Lady of the Lake” of becoming too pastiche, the midsection break shifts into a bit of Pink Floyd vibe. And if nothing else, their command of Page’s “light and shade” is on great display. Bowles utilizes his higher register at its most effective on the entire album.

The album closes with “Citadel”, and a mournful piano intro beckons us inside its gates. The titular fortress is where the Forces of Good will enact a final stand against invading demons. Sacred ways must be protected, freedom must be preserved. Meanwhile, this is probably the least Rush sounding non-instrumental track on the album, which in my opinion makes for a stronger closer. Sure, I suppose you could point out a bit of Queen throughout the song, but even then that’s just one of multiple influences on display. “Citadel” is a slow and muscular number, peppered with twin guitar leads, pounding drums of war, and a driving piano spine that elevate the song into high dramatic relief while also providing a powerful closer to the album.

And in closing…

So yes, Fearless wears its Rush homage high up on its vest. Four of the nine tracks dominate in this regard, with “Starlifter: Fearless Pt. II” over 18 minutes in length on its own. And while that track almost verges into completely overt tribute territory, the others retain a character that is less defined by the music of the past, and more derived from them.

So to that end, Fearless remains a captivating sonic adventure, paying homage to Rush with various degrees of overt intensity. Crown Lands assuredly picked up and ran with the classic Rush baton, but they also skillfully wove other influences into their contemporary tone and vison. The result is an engaging album that acknowledges its roots while delivering a diverse and extremely satisfying experience.

One that doesn’t stray too far from Cygnus X-1, but satisfying nonetheless.

What similar albums does ChatGPT recommend?

While it behooves me to remind my readers that everything you just read is 100% Mills, let’s ask our friendly neighborhood AI for some similar album recommendations.

1. The Mars Volta – “De-Loused in the Comatorium” (2003): This progressive rock album features intricate compositions and powerful storytelling, offering a modern take on the genre that fans of Crown Lands will appreciate.
   
2. Haken – “Affinity” (2016): Haken’s fusion of progressive rock and metal with elements of electronic music creates a compelling sonic landscape that Crown Lands listeners will find both familiar and innovative.
   
3. Thank You Scientist – “Maps of Non-Existent Places” (2012): This band’s unique blend of progressive rock, jazz, and alternative music showcases complex arrangements and thought-provoking lyrics, making it a great choice for Crown Lands fans seeking something fresh.
   
4. Caligula’s Horse – “In Contact” (2017): Fans of Crown Lands’ thematic storytelling and progressive rock elements will enjoy Caligula’s Horse’s “In Contact,” a concept album that explores human connection through a series of interconnected stories.
   
5. Leprous – “Bilateral” (2011): For those who appreciate Crown Lands’ mix of progressive rock and heavier elements, Leprous’ “Bilateral” delivers a captivating blend of experimental sounds, intricate song structures, and powerful vocals.

Output from ChatGPT, OpenAI to Mills, 17 April 2023.