by Dean Wolfe, Prog dog Media [album released November 7, 2022]
Rush has been noticeably absent from the progressive rock scene. After decades of relentless touring and nineteen studio albums, the band called it quits in 2015. Then, with the passing of drummer Neil Peart, any realistic hopes of a reunion came to an end.
That absence has created a void—one that a handful of talented tribute bands have stepped in to fill, recreating and preserving Rush's remarkable legacy for audiences still hungry to hear those songs performed live.
One of the best is a trio from Orlando, Florida called Rushour. Since the late '80s, they've performed Rush music in various lineups, earning a reputation as one of the premier tribute acts. More recently, though, they decided to strike out on their own, writing and recording original material while wearing their admiration for Rush proudly on their sleeves.
Rebranding themselves as Signals, they released their debut album, Lunar Landing, in 2022, accompanied by several music videos on YouTube.
The opening track, "A Day in the Night," sounds almost impossibly Rush-like. It's a superbly written song, wrapped in lush production, with Alex Lifeson-inspired guitar tones, crisp, energetic drumming, and those wonderfully round, plucky bass lines.
Bassist and vocalist Chad Kulscar delivers a confident, expressive performance, but thankfully he doesn't sound like a Geddy Lee clone. Personally, I see that as a real strength. Trying to imitate Geddy too closely would have felt distracting and uncanny.
And then there's the chorus. It's incredibly effective, and for me, it's one of the strongest moments on the album. This quickly became one of my favourite tracks on Lunar Landing.
It even made me wonder: is this a lost Rush song, somehow discovered decades later on a dusty, mislabelled reel of tape in an old recording studio? That's genuinely the feeling it gives me.
Listening to Lunar Landing also raised an interesting question. If literature has fan fiction, is there a musical equivalent? Can artists respectfully pick up where their heroes left off and create something that feels both familiar and fresh?
The influence of Rush is unmistakable throughout Lunar Landing, but after that opening track, Signals gradually reveal more of their own identity. The inspiration is always there, yet they're never content to simply imitate. As the album unfolds, their own songwriting voice begins to emerge.
"Angular" is another favourite of mine. It leans a little more toward the sound of '70s-era Rush, while still maintaining its own identity. Guitarist Sean Ghannam showcases an impressive command of both shimmering clean tones and thick, overdriven sounds. And then there are the chords. More than once I caught myself thinking, "What on earth is he playing there?"They're inventive, unexpected, and incredibly satisfying. The title Angular is fitting, too. The song itself takes sharp turns from one section to the next, constantly changing direction in ways that shouldn't work—but somehow they do. There are gorgeous, clean passages that contrast beautifully with heavier, nastier riff-driven sections, where the bass and guitar lock together in tight, syncopated patterns. It had my head bobbing from start to finish. Chad's vocals are smooth and assured throughout, providing a nice counterbalance to the song's ever-shifting musical landscape.
"Seahorses" showcases the band's adventurous spirit with confidence. This grooving instrumental leaves little doubt about the musicianship on display. Sean delivers several outstanding guitar solos, at times venturing into almost Holdsworthian territory—a compliment of the highest order for fans of Allan Holdsworth. His playing is fluid, expressive, and technically impressive without ever feeling like mere showmanship. Drummer Reed Hayes is equally outstanding here. His precision, creativity, and sheer energy make this one of the album's highlights from a rhythmic standpoint. This is also where the band's jazz-fusion influences come more clearly into focus. Chad gets his own opportunity to shine as well, stepping forward with a tasteful bass solo that fits the song perfectly.
"Lunar Landing" returns to the album's more immediate, melodic side. There are certainly echoes of Rush here—particularly the Signals era—but by this point the band's own identity is coming through loud and clear. The songwriting is especially strong. The verses are remarkably economical, with every part serving the song while still generating plenty of excitement. Nothing feels wasted. The bridge even hints at the atmosphere of Grace Under Pressure, adding another subtle nod to one of Rush's most distinctive periods. Overall, the song reminded me of what made Rush such exceptional songwriters. When you spend years immersed in music of that calibre, some of those instincts are bound to find their way into your own writing. Thankfully, Signals don't simply imitate those influences—they build on them, creating something that feels both familiar and genuinely their own.
"The Time Machine II" is another excellent instrumental. It's an energetic, exciting piece that showcases the remarkable chemistry this trio has developed after years of performing together. One of the more interesting elements is the use of foot-triggered synthesizer pedals, played by both Chad and Sean. It's a reminder that even relatively simple musical technology still has plenty of creative possibilities left to explore. The arrangement also gives drummer Reed Hayes ample room to stretch out, moving effortlessly between his acoustic and electronic kits with precision and imagination. There's a definite science-fiction atmosphere throughout the track. Spacey sound effects, along with a menacing alien voice crackling over what sounds like a futuristic public address system, create a vivid sense of place. If I had to compare it to a particular era of Rush, I'd probably point to 2112 or Hemispheres. And hearing this, I couldn't help thinking how well it would translate to the live stage.
Now we move into what feel like the deeper cuts on Lunar Landing—songs that probably wouldn't be my first choices as an introduction to the band, but ones that reward a closer listen.
"The Tracking Station" features finger-picked clean electric guitar passages alongside more of those single-note pedal synth lines that have become part of the album's sonic identity. There are definite moments of homage to Rush here, drawing from both their '70s and '80s eras. Chad adds another interesting layer with thick, harmonized, processed vocals that take on an almost mechanical quality in places. But unlike Rush, Signals bring stronger jazz-fusion elements into the mix, along with some echoes of the more polished, experimental side of the Presto era. The result is an intriguing blend of influences that feels distinctly their own. Sean once again steps forward with some excellent guitar work, delivering another memorable solo. This is probably one of the more challenging tracks on the album. It's darker in tone, more experimental, and perhaps a little less immediately accessible than what came before. But it also shows a willingness to explore different textures and ideas, making it an interesting part of the album's overall journey.
"Here I Am" continues the album's darker, more atmospheric side, but it also has moments where bursts of angelic brightness seem to break through the clouds. The song features a lot of synth bass textures, along with sections of inventive, busy bass guitar work that propel the music forward while somehow giving it a floating, weightless quality. This track also highlights Chad's distinctive vocal approach. He tends to sing with a broad, expressive style, often holding and stretching words rather than moving quickly through phrases. Instead of simply delivering the melody, he lets the vocals linger and hang in the air, becoming another texture within the music.
The CD closes with a bonus track, "City Lights," which takes things in a slightly different direction. This one has a definite Steely Dan flavour, with its sophisticated grooves and jazz-inflected approach. The bass is especially prominent here, with plenty of busy, melodic lines that weave through the arrangement. Sean once again delivers some great guitar work, adding more impressive soloing to an already guitar-rich album. Reed Hayes keeps everything grounded with energetic, driving drums, but he also knows when to step back and let the groove breathe, occasionally slipping into a laid-back jazz swing feel. Chad gets another chance to showcase his bass creativity as well, using an envelope filter during some of his solos and bringing out a more aggressive funk influence with some impressive thumb technique on those thick bass strings.
Prog Dog Score: 3 out of 5 dog bones. Overall, Signals gives us plenty to air drum along to. There are some genuinely excellent Rush-inspired tracks here, especially in the first half of the album, where their influences are proudly on display. But what becomes more interesting is hearing glimpses of Signals' own identity emerge as Lunar Landing unfolds. In the latter half of the CD, the Rush-ness begins to fade into the background, and the band's unique personality starts to shine through more clearly. And honestly, I think that's exactly what should happen. A band shouldn't spend its entire career living in the shadow of its influences. I'd much rather hear Signals develop their own voice than simply recreate something that has already been done brilliantly. Maybe leave the copy-catting to the AI machines of the future. I look forward to hearing more original material from Signals because if Lunar Landing is simply their first step into songwriting as their own band, there could be something very exciting ahead. The prog force is strong with these guys.
Watch the interview with Signals HERE
