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Whether they’re being praised as torch-carrying titans or derided as classic-rock cosplayers, Canadian duo Crown Lands are often cited as the modern-day Rush.
But Kevin Comeau – their guitarist, bassist, keyboardist and now primary producer-engineer – isn’t concerned about the endless comparisons, which continue with the release of their third LP, the conceptual sci-fi epic Apocalypse.
But they’re expecting that chatter; after all, the reference point was consciously baked into the band’s DNA back in 2015, when he met his long-lost brother in prog, drummer-singer Cody Bowles.
“When we started the band, we joked to ourselves, ‘What if the White Stripes covered Rush?’” Comeau tells Guitar World. “We just kept leaning more into the Rush than the White Stripes as time went on. I still think, sonically, Rush’s Moving Pictures is as perfect a record as you can get. As a producer, I’m always chasing the clarity of something like Power Windows.”
In fact, connecting these virtuosic Canadian bands feels like the ultimate accolade. “We’re not worried about people comparing us to Rush,” he says. “I don’t think you can get more complimentary than a comparison to Rush. I love seeing the discourse online – ‘I don’t like them. They sound too much like Rush.’ Or ‘I don’t like them. They don’t sound enough like them.’
“I’ve always loved Rush’s [philosophy of thinking] – ‘We want to be the world’s smallest symphony orchestra.’ Trying to do that with two people is like trying to one-up our heroes – or one-down our heroes.”
Apocalypse is their most grandiose adventure into this symphonic realm, building on the proggy template – and interstellar good-and-evil storyline – they established with 2023’s Fearless.
The album balances spacey balladry (Through the Looking Glass) with heavy, punchy rockers (Blackstar), all building to the 19-minute climax of the title track, which also pulls inspiration from the Allman Brothers Band and the bonkers 1974 Yes piece The Gates of Delirium.
Their long-form centerpiece, with its textural shifts and cinematic key/tempo changes, offers plenty of space for Comeau on guitar – from crunching power chords to jittery arpeggios to bluesy leads that sound beamed in from The Wall.
That fluidity and constant surprise keeps the piece engaging, much like Echoes or Supper’s Ready. “When you have a record about going through a black hole and fighting your arch villain through time and space,” he says, “the music ends up writing itself. You end up pushing all the crazy polyrhythms even further.”
But the monster runtime wasn’t the ultimate goal, even if Comeau gets a nerdy thrill out of seeing the track tick past the 19-minute mark.
“You’re chasing length a lot of the time in prog,” Comeau says. “I’m always chasing the 20-minute opus. When we sent the final mix to Ted Jensen, it was 19 minutes and 1 second. Mastering engineers will often lop off any dead space, and the master came back at 18:58.
It’s so stupid, but that’s progressive rock, baby!
“It’s the first time I’ve ever had to send a revision – ‘It sounds great, but can you restore the four seconds of silence at the very end so that it stays past 19 minutes?’ It’s so stupid, but that’s progressive rock, baby!”
Even if all of these tunes had been short, Comeau would’ve had his hands full on Apocalypse; along with playing guitar and producing the bulk of the material, he also continued to handle all of the bass, synths and bass pedals. To put it in Rush terms: part Alex Lifeson, part Geddy Lee.
To pull off that crazy feat on stage as a two-piece, especially with their songs growing more complex, Crown Lands would either need to scale back dramatically or get super creative.
They’ve chosen the latter route, with Comeau often playing a double-neck guitar/bass custom-built by luthier Brock Stoyko. (There was also a major assist from Lee’s bass tech, John “Skully” McIntosh, who helped him wire it. And to land on a suitably “ergonomic” design, Comeau went to Lee’s home and took measurements of the Rush legend’s own double-necks.)
Comeau’s admiration clearly extends well beyond “casual fan.” In 2021, Crown Lands joined Lifeson on stage during the annual Andy Kim Christmas Show in Toronto, joining for an all-star Led Zeppelin medley.
The way they were able to last for 40 years, how they’ve stayed friends when the meat grinder of the industry destroys friendships, is so special
“In rehearsals, I’m playing every Rush riff I know, like The Necromancer, and Alex is just laughing,” Comeau says.
“He was so cool. He said, ‘I don’t want to play my double-neck for this song – it’s too long and heavy.’ I said, ‘I’ll do it!’ He lent me his white Gibson EDS-1275 for Stairway, so I’m doing the 12-string part while he’s doing the solo. I’m like, ‘Holy shit, this is life-affirming.’”
Later, Comeau helped Lifeson catalog and tune his guitars for a charity auction, and he wound up being Lee’s keyboard tech ahead of 2022 Taylor Hawkins tribute show.
Prog is in Crown Lands’ blood, and their Rush worship is pure. “When I found Cody, it was like, ‘It’s perfect!’ We’re so deep into this niche; I don’t know where we’d be if we didn’t have each other to fill in [our] musical holes. I see that in Rush.
“They’re such singular musicians that, if they were in any other context, it wouldn’t work. The way they were able to last for 40 years, how they’ve stayed friends when the meat grinder of the industry destroys friendships, is so special.”
