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Tonight we celebrate the 50 Something Rush tour set for 2026 and 2027. We'll start with Side 1 of the 1976 album that was their major breakthrough, 2112, and follow with some choice studio cuts from A Farewell to Kings (1977) and Hemispheres (1978).
2112 (1976):
I. "Overture" (4:31)
II. "The Temples of Syrinx" (2:16)
III. "Discovery" (3:25)
IV. "Presentation" (3:41)
V. "Oracle: The Dream" (2:00)
VI. "Soliloquy" (2:19)
VII. "Grand Finale" (2:16)
"Cygnus X-1 Book I : The Voyage" (A Farewell to Kings, 1977)
"Cygnus X-1 Book II: Hemispheres" (Hemispheres, 1978)
"La Villa Strangiato" (Hemisperes, 1978)
"Closer to the Heart" (A Farewell to Kings, 1977)
The Fifty Something tour is a concert tour by the Canadian rock band Rush.
The tour began on June 7, 2026 in Inglewood, California, and is
currently set to conclude in Helsinki, Finland on April 10, 2027.[1] It is Rush's first tour in 11 years, and their first live outing without drummer Neil Peart in 52 years, following his death in 2020,[2] with Anika Nilles filling in for him.[3] On February 23, 2026, Rush announced that Loren Gold would be the keyboardist for the tour, making it the first time the band has toured with more than three main musicians.[4][5]
The merits of the DiN releases Box of Secrets, Distant Rituals, Outpost, Art of Sacrifice and Blaze
continue to be worth extolling, as the ideas they contain are
remarkable and unique in history. Setting these titles as reference
points, Ian Boddy has reconceived and reworked each to produce the five 30 minute experiments presented on DiN Reimagined Volume 1 (158:05). This impeccably crafted batch of reconstructions have been dropping periodically over the years, for people in the know (Boddy's Patreon subscribers),
and are collected now in this first of a new series. Though all tracks
are rooted in a previous DiN designation, Boddy sees the aforementioned
albums as reference points - reconsidering the music and intentions of
the earlier version, in a transformation of markedly different artistic
outcomes. Suppressed beneath a midnight of softly burning dreams
listeners delve into chill currents - to emerge beyond the control of
known forces. In direct connection to lower levels of thought electronic
textures and tones expend their force in an atmosphere of
searching. Falling through darkness notes collide, collude and combine.
Moments pass in a ramble of melody, a flight of timbre, a search of
harmony. Chords, moving in contrary motion suggest a scene, create a
mood - fashioning a world that may be real, but not representative of
reality. Hallucinatory and fragmentary, these impressionistic aural
images are the product of a particularly astute re-interpretation
and refinement of the original recordings. Commanding a range of
technologies and mechanisms Boddy has here realized a pentad of surreal,
dreamlike sonic experiences - which manage to acknowledge their
sources, while emphasizing a distinctive craftsmanship, inventiveness
and personality. DiN Reimagined Volume 1 offers a sound collage that moves well within the painstakingly detailed shades and hues of Ambient Music.
In such cerebral Spacemusic, even when challenged by dissonance we hear
a unity in the arrangement - and what message it is trying to convey.
- Chuck van Zyl/STAR'S END 18 June 2026
As the core DiN label inexorably
heads towards a century of releases, it’s worth looking back on a huge
legacy of incredible releases. Label boss Ian Boddy has been producing
some very special mixes of the early, deep back catalogue titles over
the last couple of years. However, unlike the free-to-download DiN Mixes
(of which there have been six so far), these are total reconstructions
of the relevant albums. This method of working has involved Boddy using a
number of techniques, including time-stretching, tape recorder pitch
changes, granular engine manipulations, adding new effects such as
reverb and echo, as well as accessing the original albums’ stems. Thus,
they are not simple remixes using the original album tracks but rather a
reconstruction of each release to produce a new piece of music. Indeed,
Boddy has eschewed any references to rhythmic or sequenced material
from the source tracks but has rather created a series of ambient
soundscapes that each span 30 minutes or so. These open up new
possibilities from the peacefully ambient to the weird and mysterious.
Originally released exclusively via Boddy’s Patreon channel, this first
volume collects five of these reimagined mixes as a Bandcamp digital
download album.
credits
released June 12, 2026
All mixes reimagined by Ian Boddy from the original DiN albums.
Ian Boddy Patreon channel @
www.patreon.com/ianboddy
https://bandcamp.com/discover/sunderland?from=tralbum&artist=1737731247
This sophomore album was a definite harbinger of things to come as the next "Island of Misfit Toys" will
consecrate Timothy Pure with prog excellence. The band came out of peachy Atlanta with a decent debut
that had all kinds of promise plastered all over it. A few personnel changes to set the boat straight and a
style is born, a strong spacey Floydian influence but thankfully without the immense showoff egos. Matthew
Still is an effective keyboardist but an even better vocalist, owner of a dreamy set of pipes that amplifies
the murky energy of the music and can snarl when needed. Andre Neitzel on bass does a lissome job
weaving his down low notes deep into the rhythmic fabric set by drummer Chris Wallace. Guitarist Zod
(yeah, I know.) does not attempt to be a guitar god (zod=god?), staying well within his tonal limitations
and sealing the arrangements as a team concept and not 4 virtuosos showing off their chops. Let it be said
right away, this is not the most complex material ever recorded but it has a very original style that
reverberates often through the course of these tracks that flow into one another, as if one long suite. Not
much change of pace either, Timothy Pure come across as jacks of one trade, relying on some superbly
mysterious melodies to keep the doom moving forward. "Blood of the Berry" has some luminous
moments, such as on the fantastic "Slide", the extraordinary "The Afterglow" and the lilting "Magdalena
Hell", all imbued with a mystical haze that is quite attractive, even after multiple spins. There is a slight
similarity with fellow American bands Singularity and Discipline, both having made some admirable
recordings. While this is a good release and thoroughly enjoyable, it still lacks some fire in the belly which
would catapult it into the upper reaches of excellence. The best is yet to come. 
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