Alex Lifeson of Rush dives into new sonic realms with Envy of None's album 'Stygian Waves'

Alex Lifeson’s legacy as a virtuosic guitarist and co-founder of one of the most iconic progressive rock bands of all time is firmly etched in rock history, thanks to his groundbreaking work with Rush.

The Canadian icon spent decades crafting intricate, expansive soundscapes that redefined the possibilities of progressive rock. But as time moves forward, Lifeson is showing he’s not content to simply rest on those laurels. His latest venture, Envy of None, finds him diving into fresh sonic territory with their new album Stygian Waves.

Stygian Waves Breaks New Ground

This isn’t the blistering, technically virtuosic Lifeson fans are used to—it’s something darker, more atmospheric, and infinitely more experimental. Here, it’s less about showing off those signature guitar flourishes and more about weaving emotion, tone, and texture into a completely new musical identity. Stygian Waves is a daring departure, and in its haunting, cinematic depths, Lifeson reveals a new side of his artistry that’s just as thrilling as anything he’s done before.

The album is the result of years of collaboration with his bandmates — bassist Andy Curran, vocalist Maiah Wynne, and guitarist and keyboardist Alfio Annibalini. It’s a project born out of experimentation, much like the sonic landscapes that Lifeson helped shape in Rush. But there’s a distinct shift here, one that marks a deeper, more intimate journey into sound and songcraft.

We’re telling stories in a very cinematic way,” Lifeson said during a recent interview with Sinclair Broadcast Group. “That’s the approach I’ve always had. Rush was, in a lot of ways, a cinematic kind of band. But Envy of None? It’s much more about the way we create music—the tones we use. And it’s all about Maiah’s voice. It’s the contrast between her delicate vocals and the overall tonality of the record. There’s something in the quality of her voice that just weaves in and out, and it sits perfectly on top of everything else.

It’s Maiah’s voice — the haunting, ethereal quality — that truly makes Stygian Waves stand out. What began as a simple exchange of ideas between the legendary guitarist and the emotional singer has blossomed into a partnership that shapes the heart of Envy of None’s bold new direction.

“We had just wrapped up the final Rush tour, and honestly, I didn’t do much for nearly a year—just took a step back,” Lifeson explains. “Andy was working on his own stuff, and he asked if I’d throw some guitars on a few tracks. Nothing fancy—just enough to give him an idea of whether it would work. So I just laid down some rough stuff using plugins, no amps. It was really just about giving him a sense of what the guitar and vocals might sound like.”

The Haunting Element that Defines Envy of None

Then, fate intervened. Andy, who was judging a talent contest, encountered Maya—one of the contestants. "He told her, ‘You need to get out there and work with other musicians, learn your craft.’ And she just said, ‘I Googled you, I know your history—why don’t we work together?’ I laughed. It was ballsy. But Andy sent her a track we’d already worked on with another vocalist—‘Liar’—and she sent her version back.”

Lifeson’s response was immediate. “As soon as I heard it, I called Andy and said, ‘Erase everything I gave you. We need to work with this girl—she’s incredible.’ From there, it just clicked. I worked with her on another project with Marco Minnemann, and she just kept impressing me. Now, years later, everything has really come together beautifully."

What started as a fleeting moment has now turned into the musical alchemy that defines Stygian Waves.

Lifeson’s words are a testament to Maiah’s growth as both a vocalist and an artist. On Stygian Waves, her voice ranges from delicate folk-inspired melodies to more electric, complex arrangements that match the album’s deeper emotional core. The result is a haunting blend of tones—dark but not quite ominous. It’s a sound that takes risks, that goes to unexpected places, and still comes back to something remarkably human.

“We didn’t really think too much about it,” Lifeson admits about their creative process. “We just wrote the music we wanted to write, and once we started working with Maya, it clicked. The contrast in the music and her voice worked so well that it felt like it was meant to be.”

The album’s songs span a wide range of moods, from funky rhythms to more brooding, atmospheric moments. Tracks like “The Story” are peppered with power-pop elements, while others veer into darker, more complex territory. For Lifeson, the goal wasn’t just to make a record — it was to build a band. And in that, Stygian Waves succeeds in spades.

When I got the final mixes and listened to the whole thing from start to finish, it hit me,” Lifeson says. “This isn’t just a recording project. We’ve created something cohesive. This is a band. We work as a unit now, and that’s a huge thing. We’ve developed a sound that is unmistakably ours.

The evolution of Envy of None’s sound from their debut to this sophomore effort is also a clear indication of the band’s growth. “On the first record, Maiah’s contributions were more folk-based, singer-songwriter stuff. But with this record, it’s a lot more electric, a lot more diverse,” Lifeson explains. “She’s grown so much as an artist, and you can hear that in her voice and in the way she approaches the music now.”

Indeed, on Stygian Waves, Maiah’s voice takes center stage. But it’s not the only instrument that shines. Lifeson’s guitar work — while less flashy than some might expect — speaks volumes. There are no grandiose solos here, no over-the-top technical displays. Instead, the guitars are woven into the fabric of the songs, serving the track rather than overshadowing it. It’s a quieter, more reflective approach, one that feels like a natural progression for Lifeson as an artist.

“I don’t see solos as a chance to show off,” Lifeson states firmly. “It’s always about serving the song. A solo should reflect the emotional impact of the song. It’s not about playing fast or loud—it’s about playing something that resonates, that connects with the lyrics and the overall feel of the track.”

New Era of Creativity

For Lifeson, the freedom to experiment in Envy of None has been liberating, especially after decades of the intense scrutiny and expectation that came with Rush.

“With this band, I feel like I can take more risks,” he says. “We’re not bound by the same expectations, and that’s been really refreshing. I’ve been able to experiment with different guitar tones, even get back to some of my roots. There’s a lot of funky guitars, a lot of that ’60s R&B flavor, which was a huge influence on me growing up.”

The freedom to experiment also extends to the way the band has worked together—primarily remotely due to the restrictions of the pandemic. While Lifeson admits that the process was a challenge at first, he’s learned to appreciate the creative independence that comes with working from home. “I love having the space to experiment,” he says. “I can try things out, erase them, and try again. It’s a lot of freedom. And I think that comes through in the music.”

Perhaps the most striking thing about Stygian Waves is how fresh and original it sounds.

Despite its roots in the experimental, boundary-pushing ethos that Lifeson helped shape in Rush, Envy of None has found a way to carve out its own identity. The blend of Maiah’s voice, Lifeson’s guitar work, and the band’s overall sonic exploration has resulted in an album that feels simultaneously timeless and completely new.

“I think with this record, we’ve finally established our own sound,” Lifeson reflects, with quiet pride. “It’s something that’s uniquely ours, and that’s a really great place to be. It’s been a journey, but we’re here now—and it’s just the beginning.”

Rush’s Roots: Reflecting on the Band’s Humble Beginnings

Reflecting on the early Canadian music scene, Lifeson recalls a time when the country’s recording industry was a “backwater” for larger American and European companies.

Canada didn’t have a great recording industry back then,” he says. “Everything was based on pop, easy radio, friendly music, and we weren’t that.

Growing up in Toronto, the scene was split between the hippies of Yorkville and the R&B crowd downtown, but Lifeson found himself drawn to the musicians who would shape his approach to writing and playing, such as The Ugly Ducklings. “They were just a local band, but their first record had such a big impact on me,” he adds.

Despite the challenges of breaking into a saturated market, Rush’s sound—a fusion of progressive rock, hard rock, and complex musicality—caught the ear of music fans around the world, ushering in a new wave of Canadian talent. Lifeson sees the explosion of iconic bands like Bryan Adams, Loverboy, and Tragically Hip as a natural progression of that wave.

“We were always a little more international,” he notes, referring to Rush’s global success, but he expresses deep admiration for the Hip’s decision to focus on their home country, building a massive fanbase in Canada despite limited success in the U.S.

We became really good friends with them. Gord and Neil were good buddies as well. How strange that they both succumb to the same disease. But they were both very strong lyricists. We thought that they would be huge in America, to go down and start in that college circuit. They were the perfect band for that. They could have been enormous, but I don't know, maybe something in the timing. There's lots of reasons that it could be, but they made a decision that it's too much work to build something in the states. Let's just concentrate in Canada. So, and they became possibly the biggest, most popular band in Canada.

Lifeson’s humility and approachability also extended to Rush’s treatment of their opening acts. “We made a point to always treat our opening bands with respect,” he recalls. His respect for fellow musicians was exemplified in the band's interactions with Marillion, the British progressive rock band. “They were just great guys,” Lifeson says, “and we always tried to make them feel welcome.” This sense of camaraderie wasn't limited to the stage. Lifeson fondly remembers sending a welcome card and champagne to the opening acts—a gesture that proved how much Rush valued collaboration over competition.

The Evolution of Rush

As Rush ventured into the 1980s, the band found itself at a crossroads, embracing both their own artistic evolution and the changing tides of music technology. Known for pushing boundaries, Rush never shied away from experimenting with new sounds and techniques.

But by the time they reached Grace Under Pressure, they were ready to take things in a new direction—one that involved not only changing their approach to music but also reshaping their relationship with longtime producer Terry Brown.

We were always on the cutting edge of technology," says Alex Lifeson, reflecting on the band's forward thinking. "We embraced what was coming next, but in the '80s, we made a conscious effort to break ties with Terry. We loved him, but we felt like we needed to learn more. We wanted to develop with other people, work with new influences, and challenge ourselves.

This new chapter in Rush’s sound came with a heavy embrace of keyboards, a shift that would forever alter their musical landscape. While Lifeson admits he wasn't initially keen on the idea of leaning into keyboards, he recognizes their significance in shaping the band's evolution.

The keyboards were essential to our sound, and really important," he explains. "But when we did Power Windows and Hold Your Fire, we really opened up the keyboard thing, and it was a different sound.

The infusion of synthesizers and electronic textures marked a dramatic departure from their earlier, guitar-heavy compositions, and Lifeson adapted his own guitar tones to complement the lush, keyboard-driven atmospheres. "I changed my guitar sound to accommodate the keyboards," he says, acknowledging that the new approach created a fresh sonic landscape that challenged the band in exciting ways.

The results of this bold reinvention are apparent in the music itself. Lifeson reflects with pride on those albums, stating that they sound "amazing" to him, appreciating their unique place within Rush’s storied discography. However, the journey didn't end there.

By the time Counterparts rolled around, the band had found a more balanced fusion of keyboards and guitars. "We combined the keyboards, but the guitar has its presence, and the power of the band is more focused," Lifeson explains. "I was happy for that rebirth." This marked a return to a more cohesive, hard-hitting sound that solidified the band's place at the forefront of musical innovation in the '90s and beyond, proving that Rush’s ability to evolve with the times was one of their defining qualities.

One of Rush's most poignant tracks, "The Pass," holds a special place in the band's heart, not just for its emotional depth, but for the way it came together with such intentionality. Alex Lifeson, reflecting on the song, shares that it was "one of our favorite songs," ranking in the top three of their catalog. "We loved playing it," he admits, but it's the solemnity of the track that sets it apart.

You know it deals with death and grief, and who knew then that we would have our large share of grief through our career," he said. "But there's something about the way that song is constructed and the performances. The performances are restrained and a little subdued, and that's a conscious effort when we were making it. When we finished the song, I remember thinking that this is a song that came out exactly the way we intended it to. It's one of my favorite solos. It's a heartbreaking solo that I played in that song. Yeah, it's definitely a really, really special one for us.

"The Pass" remains a deeply meaningful song and an emotional cornerstone in their illustrious career.

Moving Pictures: Lifeson Reminisces on the Iconic Album’s Creation

Released in 1981, Moving Pictures stands as the defining moment in Rush’s storied career, a bold leap into the realm of musical innovation that solidified the Canadian trio’s place in rock history. With its meticulously crafted blend of progressive rock, radio-friendly hooks, and precision musicianship, the album captured a moment in time where Rush became a household name, transcending the cult following they’d built over the years.

From the opening notes of "Tom Sawyer" to the intricate "Red Barchetta" and the atmospheric "Witch Hunt," Moving Pictures is a masterclass in musical evolution, blending complex time signatures and soaring guitar solos with accessible melodies that would resonate with fans of all stripes. It’s here that Rush reached the peak of their sound, melding technical prowess with an emotional weight that connected deeply with their audience.

What made Moving Pictures so special wasn’t just its musical genius, but the way it captured the energy of a band at the height of their powers. The chemistry between drummer Neil Peart, bassist Geddy Lee, and Lifeson was undeniable—each musician pushed the other to new heights, creating a dynamic synergy that would become the hallmark of the band’s legacy.

The album’s production was groundbreaking, utilizing one of Sony’s first digital machines, marking a pivotal moment in the intersection of technology and rock. But more than anything, Moving Pictures was an album that reflected the times, channeling the societal anxieties and personal reflections of its creators into a sound that felt both timeless and revolutionary. It wasn’t just music—it was a snapshot of a moment, captured forever in the grooves of a record that would go on to define the genre.

As Rush celebrates the 45th anniversary of Moving Pictures, Lifeson reflects on the time the band spent recording that iconic album at Le Studio, deep in the Canadian wilderness.

Moving Pictures was the most fun record we ever made. It was such a great energy and a great vibe," he said. " It was winter. It was a very cold winter as well. When I say very cold, I mean, minus 30, minus 40, you'd have a week of that kind of weather, but it was still a lot of fun to work there. We would snowshoe or a ski, like cross country ski to the studio. I generally drove over. But, you know, it was part of that whole Canadian experience, the Great North. And when we started working on Moving Pictures, everything came together. It just so effortless. We were well prepared. We'd written all the material. We knew what we were doing. We actually mixed it down on digital, which was like one of the first Sony digital machines. Compared to modern digital, that thing was a Model T. But the record sounds great. That was really, really a lot of fun to do.

Reflecting on the lighter moments during the recording of Moving Pictures, Lifeson recalls one particularly memorable experience at Le Studio.

"We made a couple of videos (at Le Studio) that were fun," he said. "I remember when we did Witch Hunt. We were down in the parking area. They set up mics, and we were the mob crowd in the background. In the opening, if you're listening carefully, you can hear us laughing because we had had a few drinks and we were screaming and yelling about the most ridiculous things as a mob. But some of the things that we're saying are totally like, unrelated to anything. It was such a lot of fun."

For Lifeson, Rush’s legacy is not just about the groundbreaking albums or technical innovations; it’s about the journey—the friendships, the shared experiences, and the music that connected fans across the globe. From their humble beginnings in the Canadian music scene to their place in the pantheon of rock, Alex Lifeson’s influence remains undeniable. Rush didn’t just create songs; they created moments of musical history, and Lifeson’s role in that is an indelible part of rock’s legacy.

A New Frontier

With Stygian Waves, Lifeson proves that there’s still plenty of untapped territory left for him to explore. The album is a bold, beautiful statement from an artist who continues to redefine what it means to push boundaries in music.

With its rich textures, haunting melodies, and experimental soundscapes, Stygian Waves is a testament to Lifeson’s enduring commitment to artistic evolution. As he continues to break new ground with Envy of None, it's clear that Lifeson isn’t just resting on his legendary past—he's charting the next phase of his musical journey, proving that the future still holds limitless possibilities for one of rock’s most influential figures.

“I can’t wait to see where we go from here,” he says with a grin. "We’re just getting started."

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