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During the last years, Marillion has been the subject of many
discussions on mailing lists and message boards. Everybody kept
going on about Fish and Steve Hogarth and Marillion still being prog
or not, but let’s forget all that and judge their new album without
any prejudice. Though that’s not always easy as I’ve always liked
Marillion, so I’m starting off with a prejudice myself.
The
new album “Marbles” comes in three different editions. There’s a
pre-order double album in a beautiful carbon case, with a 128-page
booklet, with some fine artwork and all the names of the people who
pre-ordered in time. If you don’t want all these names, you can
order the double album in a jewel case and there’s also a single
retail version, which will appear officially on May 3rd.
I
can certainly recommend one of the double versions because you will
be missing quite a lot on the single album.
The
album starts off with the more than 13 minutes lasting “The
Invisible Man” which contains enough variation to claim that
Marillion still has some progressive capacities. After some
indefinable noises, it begins with a rhythmic intro with lots of
bass and drums. Soon it
evolves in a quiet part with a beautiful vocal line. Every musician
is doing some subtle things that you don’t notice at first, but the
more you listen to this track, the more you discover. Slowly it
grows back into a more rhythmic piece and every one’s contributions
become more important. There’s still a piano-vocal piece and a short
slow bluesy guitar solo to digest to complete this track.
The
second long (almost 18 minutes) progressive track is called “Ocean
Cloud”. (Not on the retail version). After a quiet sung start,
accompanied by a great synth sound, and the chorus, we get to hear
the real Rothery in a solo that will bring a smile on lots of
Marillion fans’ faces. There’s enough in this track, even to much to
describe everything, and I don’t want to spoil all the fun. ;-) This
track is dedicated to Don Allum and the Ocean Rowers. If you want to
know more about this guy, you’ll find more info on
www.oceanrowing.com/logs/don_allum.htm
Another great track, “The Only Unforgivable Thing”, opens with a
church organ and changes into one of the best Marillion ballads I
know. Maybe there’s not a lot of variation in this track, but once
more Steve Rothery proves that he’s still alive and kicking.
“Neverland”, which was already on the 2003 christmas fanclub album,
is another long track, with a lot of different parts. The guitar
solo of Steve Rothery even brings back memories of the early
Marillion.
“Genie”, “Fantastic Place” (with a Chris Isaak ‘Wicked Games’
sound), “The Damage” (the only heavier track), “Don’t Hurt Yourself”
(Trewavas on acoustic guitar and Rothery on bass), “You’re Gone”
(the top 10 single, drum machine included), “Angelina” (a very quiet
jazzy track) and “Drilling Holes” (which by times sounds like “A Day
In The Life” by the Beatles) are all great tracks, which are not
really progressive songs, but they all contain great melodies and
superb vocals by H.
And
finally, there are the four short “Marbles” tracks, which I
initially didn’t like, but they are growing on me. Still, they will
never be my favourites. H sounds (deliberately?) false on them. They
tell the story how Steve launched marbles high in the air with a
tennis racket and crashed a lot of greenhouses in his neighbourhood.
His father took away his marbles and that seems to have made a great
impression on little Steve.
In
my opinion, this is the best Marillion album in years, but I’m
afraid it won’t change the opinion of the people who don’t like the
Hogarth era. Don’t expect any “Hooks On You” explosions, because
there’s a lot of laid back material. “The Only Unforgivable Thing”
is not giving this album a chance. |
