Alex Lifeson Featured in the May 2024 Issue of Guitar World Magazine

The upcoming May 2024 issue of Guitar World magazine features a lengthy interview with Alex Lifeson where the discussion centers around a deep dive into his new line of signature Lerxst gear — amps, pedals and the new Limelight guitar (which is based on his original Hentor Sportscaster). In addition to his gear, Alex does discuss the possibility of making music with Geddy in the future and his time with his friend on the recent My Effin' Life In Conversation Tour

"...I will say that doing this book tour with Geddy [for Lee’s 2023 memoir, My Effin’ Life], I did a few of the stops with him, and it’s kind of reignited interest in us getting out and playing. And the shows that we did last year for Taylor Hawkins [at the 2022 Taylor Hawkins Tribute Concerts] were inspiring, too. So for a little while I thought, you know, it’d be kind of good to get back out. And then I thought… nah, not really. [Laughs] I mean, we toured for 40 years. I’m not interested in going back out on tour. I don’t wanna sit in a hotel room for hours and hours and hours to work for a couple of hours. Been there, done it, loved it. But that’s in the past. So whether Ged and I get back together again and write or do anything, we’ll see. Until then, there’s plenty to work on, you know?..."

The issue also focuses on albums that were released in 1984 and Rush's Grace Under Pressure was also highlighted.

“Signals was a weird record for me — I liked the songs, but I thought it was a little weak in tonality,” Lifeson tells Guitar World. “Keyboards started coming up a lot more and so there was a little more of a fight for space with the guitar, which would continue with some of the following records.” The band’s next album, Grace Under Pressure, “was kind of a response to Signals,” Lifeson says, “and it became more of a guitar record.”

Indeed, while Grace Under Pressure, released April 12, 1984, still sounds closer to the synthy, heavily processed sound of Signals than the rock anthems of Moving Pictures, Lifeson’s guitar is more present throughout, spiking the tracks with driving riffs and slashing chord work, and infusing songs like “Afterimage,” “Between the Wheels” and “The Body Electric” with characteristic hot-wired solos. “I think ‘The Body Electric’ is my favorite song from the record,” Lifeson says. “I really liked the solo on that one.”

You can read both articles in their entirety at this LINK.

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