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Originally produced by Peter Henderson, “Grace Under Pressure” was the first Rush album since their 1974, self-titled debut not produced by Terry Brown. The processes the band went through after leaving Terry influenced Neil Peart’s choice of album title, a quote from Ernest Hemingway, “courage is grace under pressure”. That release was remastered at Abbey Road Studios by Sean Magee and is Disc 1 of this “Super Deluxe” edition.
Sandwiched between the albums “Signals” and “Power Windows” and coming after a run that contained classics such as “2112”, “A Farewell to Kings”, “Hemispheres” “Permanent Waves” and “Moving Pictures” this album is a somewhat hidden gem in the expanse of the Rush discography that continues with the high standards already set and is considered by Alex Lifeson as Rush’s most satisfying album.
Melodic pop hooks dealing with gloomy lyrics pertinent to the times abound, darkly. Opener “Distant Early Warning” and track 4, “The Enemy Within” with their Cold War fears; “Red Sector A” as Geddy refrains “Are we the last ones left alive?” as the horrors of incarceration in a nazi concentration camp are described. “Red Lenses” with Neil Peart showing his inventive, percussive class, “Afterimage” providing a eulogy to a recently departed friend of the bands’, and closer “Between the Wheels” with metal-esque guitar from Alex complete with smoking solo.
Credits:
Music by Appleblim
Mastered by Alex at quiet details studios
Artwork by quiet details in collaboration with Laurie Osborne
Design by quiet details
© quiet details 2026 all rights reserved
For the next interpretation of quiet details, really excited to welcome a
hugely influential figure in underground electronic music, Laurie
Osborne, here as Appleblim.
Laurie’s been making music for over twenty years now, and along with
fellow pioneer Shackleton, founded the seminal Skull Disco label.
Massively important to the evolution of bass music, and leading the
cross-pollination of genres with essential releases for dance-floors and
beyond worldwide.
Many solo and collaborative releases with top artists across the scene
on labels such as Aus Music, Tempa, BLKRTZ, his own Apple Pips, R&S
Records, Sneaker Social Club and more - remixes from the likes of
Torsten Pröfrock ( T++) - countless mix CDs and podcasts showing his
prowess as a DJ (he was resident at the legendary
FWD>> and plays at the best clubs all over the world) - Laurie’s a
true stalwart of the underground and much loved by artists and fans
alike.
So it’s an absolute pleasure to have him on quiet details with the incredible Liminal Tides
Drawing from all his experience creating ultra-deep sonic worlds, this
album is a vast and kaleidoscopic trip through psychedelic dubwise
exploration.
Billowing synthetic chords envelop the listener in the most mesmerising
way - fragments of sound wash around the soundscape - melody and
percussion drifts in and out - all evoking a beautiful place we can
serenely inhabit and get totally lost in.
Underpinned by endless sub-bass and each track constantly shifting and
evolving, this is a definitive piece of sonic art by a musician at the
top of their game - a clear vision of the music, executed to perfection.
As Laurie says:
This album is a collection of places between states...
self / no self
conscious / unconscious mind / no-mind
I hope you feel supported, buoyant, swirling, adrift as you visit them...
The places were all made by manipulating warm harmonic analogue chords, except Seagull which is all generated from the recording of a foghorn and a seagulls call...
Huge thanks to Laurie for this stunning addition to the series.
The artwork was made as always influenced by the music and idea behind the album - originating from a photo from Laurie which was then captured with analogue photography and processed here at quiet details studios.
As usual, the album is presented on the physical edition, a custom six-panel digipack with a separate fine art print too.
The CD also has a special long-form continuous mix of the album, created by the artist and representing the music in its purest form - highly recommended.
appleblim.bandcamp.com
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The album functions as an aural séance, a shared act of listening where every sound could be a transmission from elsewhere. The ambiguity of these sonic traces mirrors the ambiguity of EVP itself: are we hearing external messages, or merely amplifying the hidden noise of our own minds? Faithful to the dark aesthetics that characterize Eighth Tower Records, this project extends the label’s exploration of modern mythologies and their technological manifestations. In a time when artificial intelligence and algorithmic processes increasingly mediate perception, the EVP phenomenon returns as a powerful metaphor for our relationship with the unknow, the desire to hear what is not meant to be heard.
credits
REVIEWS
Bad Alchemy
With Electric Dead Speak. Music Inspired by the Electronic Voice Phenomenon (ETR070), Eighth Tower turns its attention to listening to “paranormal tape voices.” Think of the pioneers, Friedrich Jürgenson and his Radio Contact with the Dead, Konstantin Raudive and Breakthrough: An Amazing Experiment in Electronic Communication with the Dead. Within sound and tape culture, this field was eagerly embraced, particularly by Michael Esposito with works such as Dead Whisper: In Search of Ghosts and the Supernatural and Paranormal Labs Presents: Ghost Asylum. The house musicians of Eighth Tower are once again involved. Pezzella himself, as RhaD, contributes Afterlife Recordings, unfolding in pixelated, droning harmonies. Mario Lino Stancati delivers distorted speech transmissions and rough buzzing textures in Instrumental Transcommunication. Nikos Sotirelis, with phAntAsma, casts a trawling net for voices amid boiling, hissing, orchestral-blurred audio atmospheres. From New York, Yousef Kawar, who has previously contributed to the ETR compilations Stalker, Drone Islands – Borealis, Solaris, and Music for Imaginary Places, presents vocal simulacra in Voices Without Bodies. Dávid Kovács, aka Kokum, previously featured on Obscured Instinct and the Pale Folklore (ETR055), offers AEA, where chants emerge from buzzing and cracking layers. Walter Abreu, aka SÍLENÍ, from Portugal, explores the “thereafter” with shimmering, rhythmic and elegiac harmonies in The Space Between Noise. His compatriot PNÉVMMA brings drone and heavy footfalls in doni-seis. In Montreal, Richard Bégin crosses the Styx in Metaphonic with creaking drones and bleating sonic textures. Wannes Kolf, aka Oubys, based in Hasselt and known for Holosphere on Unexplained Sounds Group, hums over The Empty Tower, echoing Saint-Exupéry’s final radio message. The Resa dives into cloudbursts of noise surges with Spectral Patterns in Random Noise. Nerthus, the Thuringian drone practitioner, following Love Letters via Echelon (ETR064), casts his net into radio waves with Voces Mortuorum. Finally, Joel Hinkle, aka Insectarium, the nocturnal hunter of fire spirits from Springfield, entertains hardened children with The Child’s Laugh, delivering resonant tones, deep drones and raw, repetitive impulses straight out of the Twilight Zone.
[BA 132 rbd]
Weird bones
weirdbones.co.uk/the-electric-dead-speak
Luminous Dash
luminousdash.be/internationaal/electric-dead-speak-music-inspired-by-the-electronic-voice-phenomenon-eight-tower/
FreeForm Radio thanks Raffaele Pezzella (Sonologyst) for providing a copy of this release.
Curated and mastered by Raffaele Pezzella (Sonologyst).
Published by Eighth Tower Records.
Layout by Matteo Mariano.
Cat. Number ETR070.
© 2026. All rights reserved.
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