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Album Reviews
# of "Main" reviews: 359 (mean score: 8.5)
# of additional "User" reviews: 547
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http://www.marillion.com/
Origin: United Kingdom
Marillion is an English band that has enjoyed considerable popularity overseas only to be completely neglected by the US market. Forming around the end of the 1970's, with early influences heavily rooted in the style of Genesis, they single-handedly kept hope alive for prog rock fans during the 80's after Genesis travelled down a more commercial path. Similarly, this band has 'progressed' over the years, so while I might compare their earliest sound to that of Genesis, their newer releases take on an almost U2-like flavor.
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Script for a Jester's Tear (1983)
B 8.4
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What's most captivating about early Marillion is the way Fish's lyrics -- and in truth, the whole mood that is created by the entire lyrics/vocals/music combination -- is able to make you feel as though you've been immersed into a fairy tale ... an enchanting, grown-up fairy tale. This is as much the case on the band's first full length album, Script for a Jester's Tear, as it is for any other in their catalog. The undeniable crown jewel, in my mind, is the stunning title track, which leads off the album. With its second half being perhaps the most emotional four minutes ever committed to tape, this album is probably worth owning for that one track alone. And in a way, that's sort of the way the album boils down for me. One outstanding track and handful more that are passable but certainly not exceptional (perhaps with the exception of "Garden Party"). Fish and company entertain throughout with their up-and-coming, Genesis-inspired neo-prog prowess, but the band certainly has stronger, more polished releases. While parts of the album hold together well, many moments seem directionless and have a propensity for lingering. In terms of melody writing, I don't think Marillion has really come into their own as of yet on this album, leading me to prefer the tighter execution and consistency of a later work like Misplaced Childhood. (2/25/2002)
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Fugazi (1984)
B 8.6
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Like its predecessor, this one strikes me as being a bit more inconsistent than the latter two Fish-era albums. Still, in Marillion terms this only means that while some songs are phenomenal ("Assassing", "Jigsaw"), most others will merely fall into categories somewhere between 'good' ("Fugazi") and 'really, really good' ("Incubus"). The album sounds much like an extension of Script, though it should be noted that this release is the first from the band to feature Ian Mosley on drums after founding-member Mick Pointer's exit / relegation from the band. Personally, I can't hear the difference, but I presume others can. Fish again showcases the master poet in him -- with all the bravado, eloquence, and fanfaronade you would expect -- using profound imagery in his lyrics and captivating emotion in his voice. While no song reaches the level of the previous album's title track, comparing the two albums song-for-song reveals that this one is every bit as good, and probably a tad better. Still, I find the first two Marillion releases to be a far cry from the masterpiece that they were about to create (third time's a charm, I suppose). For all it offers, there are still songs, or more precisely, moments on the disc that can only be described as 'uninteresting'. Mainly I'm referring to "She Chameleon" here, though parts of other tracks would apply, too. Definitely a recommended album, though. (8/14/2002)
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Misplaced Childhood (1985)
A+ 9.9
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Misplaced Childhood is a truly remarkable concept album. It's a little difficult to specifically describe just what the album is about, however. The lyrics were written by lead singer Fish, and they focus on life's (his life's) mistakes and regrets, and the hope that exists through it all. The album (lyrics, music, vocals, production) is near perfect and has been my second favorite album of all-time since I first listened to it. (8/1/1999)
detailed review
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Clutching at Straws (1987, 1999)
A- 9.2
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This was the second Fish-era Marillion album I purchased, and while still a great album, for me it seemed to miss the mark of pure magic set by Misplaced Childhood. It is a concept album, with a major focus being placed on coping with newfound fame (ie, Misplaced Childhood's overseas success) and the ease of going to the bottle in such overwhelming circumstances in life. Musically, lyrically, and emotionally, Clutching At Straws certainly has its fair share of highlights, namely "Warm Wet Circles", "Slainte Mhath", "Just for the Record", and "Sugar Mice". Yet, on the whole, I thought there were just a few too many mediocre moments that seemed to bog the album down slightly. Such places as the album's sluggish beginning ("Hotel Hobbies"), the overly poppy track "Incommunicado", and the forgettable "Torch Song", for example, kept the album from really clicking with me. That said, it's still a great emotional journey with Fish's incomparable nuances and Rothery's passionate, vibrant playing -- creating another Marillion album that is not to be missed. (9/12/2000)
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Seasons End (1989)
B+ 8.9
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This album features a new (and very capable) singer, Steve Hogarth, who replaces Fish. This album is considerably less progressive than any of the other Marillion albums I own, and while many may have criticized its departure from the neo-prog sound, it's hard for me to argue against the great song-writing present on this album. Of its nine tracks, only one, the laughably bad "Hooks in You", falls short of great in my book (admittedly that one song does fall very, very short of great). If you're looking for something along the classic neo-prog lines that 80's Marillion is famous for, you'll probably want to look elsewhere, but this gem is not to be missed by those just looking for great music. (8/1/1999)
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Holidays in Eden (1991)
C- 7.2
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An album berthed between two excellent albums like Seasons End and Brave should not be this uninspired, and likewise, an album containing two wondrous, infectious tracks such as "Cover My Eyes" and "No One Can" should not be this apathetic. And yet, here we are. Holidays in Eden is one of those albums that just appears to do everything wrong. Mangled hooks, disappointing arrangements, and poor flow are all at fault here, as is an omnipresent darkness that just seems monotonous and ill-fitting. To wit, after the two previously named songs kick off the album with a bout of vibrance and colour, tracks like "Splintering Heart", "The Party", and really just about everything that follows, only manage to bring the album down from a high it reaches FAR too early. While this album's first two tracks would easily find their way onto my H-era best-of, it's not hyperbole to claim that at least half of this album would appear on my worst-of. "This Town" is, of course, the worst offender, as it basically remakes "Hooks in You" (which was a garbage song in the first place). Other guilty parties include the go-nowhere "A Collection", the somewhat awkward title-track (with a pleasant but out-of-place chorus), the bar-band-quality "How Can it Hurt", the befuddling "Rakes Progress", and the endlessly plodding "100 Nights". This only leaves "Dry Land" and "Waiting to Happen" unaccounted for, which, in retrospect, are probably better-than-average tracks unfairly lost amongst the clutter. While I take guilty pleasure in having pop tracks "Cover My Eyes" and "No One Can" at my ready disposal, there's little else I find of value in this album. Very disappointing. (9/23/2002)
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Brave (1993, 1998)
A- 9.2
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A concept album about the courage and pain of a runaway girl and the evil that she faces and has been burdened with. It is more of a social commentary than a story, a moody piece without a clear progression of events, but I think it is still very effective. The sound is somewhat Pink Floyd-ish, with graceful ambience and moving lyrics. Just make sure you follow the liner notes' suggestion to "Play it loud with the lights off". (8/1/1999)
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Afraid of Sunlight (1995)
B+ 8.8
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This was my first Marillion album which I stumbled across in a store after seeing their name come up while still pretty new to the genre. I must say that its character (see "Cannibal Surf Babe") took me aback at first, and I'd still probably consider it to be their most interesting album. It's kind of a pseudo-concept album, with a common theme of how fame and fortune corrupts. It's very moody, much like Brave, but with a more carefree spirit and a kind of U2 meets Depeche Mode twist in some parts. Although the album's most atmospheric moments lose me, other parts of this release are charged up with enough to fire to make a few too-slow moments easily forgiven. Hogarth turns in a terrific performance here, putting it all on the line for touching songs like "Beautiful", "Afraid of Sunlight", and "Beyond You". (8/1/1999)
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The Strange Engine (1997)
B 8.5
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This strange album has you thinking "best album of the year" during the first four tracks before pushing itself out of the top 20 by the end. The typical prog/pop style of latter day Marillion is in full effect here, but it somehow manages to only succeed on the first handful of tracks. And even then, its successes can be dodgy -- evidenced by the eerily foreshadowing nature of the opener "Man of a Thousand Faces", which is illuminating for four solid minutes before completely changing directions into a needlessly slow three minute outro. Nonetheless, it's a mostly fine track that is immediately followed by other bright spots in "One Fine Day", "80 Days", and "Estonia". From here on out, though, it's pretty much all downhill. A slow and atmospheric vocal piece named "Memory of Water" ensues, and (not for the first time on the album) has Hogarth assuming a phony, deep, pensive, heavy tone that shows he's just taking himself way too seriously. "Accidental Man", a refreshingly vibrant song by comparison, follows but hinges too much on a debilitating, repetitive chorus that just does too much damage to be ignored. This, of course, is nothing compared to the absurdity of "Hope for the Future" which could not be described better than to say it sounds like "a rejected track of underwater festivities from The Little Mermaid" (Marcelo Silveyra, progfreaks.com). Lastly, is a 15-minute epic track that has some high points but mostly serves as an unexciting (and lyrically confusing) journey. A couple of bonus tracks are tacked on to the end of the album, alternate versions of two of the album's better songs. I don't want to overlook the fact that the album is an above-average musical experience, it just simply doesn't have enough quality songs to make me completely satisfied. A worthwhile album, but not one of the best. (5/1/2003)
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Radiation (1998)
B 8.3
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This is certainly a very inconsistent album, possessing a sound you might generously label prog-pop. Musically, it is interesting though not terribly complex; lyrically, it is unimpressive, though not without its moments. However, the catchy, U2-like songs are contrasted nicely with some very slow moody pieces on the album, which make Radiation a fulfilling listen, if nothing else. Not a progressive masterpiece by any stretch, but I'll take it over the trendy garbage filling the airwaves in the States these days. (8/1/1999)
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Marillion.com (1999)
B+ 8.8
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The album title is meant as a reflection of the strong community of Marillion's following, particularly their online fanbase (it was about this time that the band's fans joined together to financially support an American tour ... not to mention their paying the band in advance to record 2001's Anoraknophobia). I also think that it was about this time that the band's official website dropped their ".co.uk" domain in favor of the more standard ".com". In any event, the important thing here is the music, and I must say that the songs are just flat-out impressive on Marillion.com. Compared to Anoraknophobia which had just one good song and only about 10 total minutes of quality music, this release pleases on just about every single track ("Enlightened" the closest thing to an exception) with a wide array of styles from catchy pop numbers to lengthy musical (and lyrical) explorations. And unlike Radiation, which also had its share of gems, they did it here without the contrast of utterly dead, boring moments. I really picked up on the freshness that came from having Porcupine Tree's Steve Wilson at the controls for half of the album. You can especially here this in the guitar tone -- a great complement to the band's sound. A fantastically eclectic album that is at different times moody, upbeat, thoughtful, fun, relaxing, energizing, tuneful, and atmospheric. Another very good Hogarth-period Marillion album to add to the list. (2/6/2003)
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Anoraknophobia (2001)
C- 7.0
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Few bands have changed and evolved over time as much as Marillion. Hopeful fanboys will call this "progression", while others will express their disappointment in the band's new sound using less glowing terms. The debate is endless (and fruitless), but for better or for worse, it is obvious that the group's style has changed dramatically -- even inside of Hogarth's tenure with the band. Nothing makes this case better than Anoraknophobia. Lengthy songs can't mask the fact the album is filled, fundamentally, with alterna-charged pop pieces. While this works in some cases ("Map of the World") most of the album just sounds like Marillion is trying to rewrite U2's modern work with bloated, overlong epics. Does this make for a bad album? No, but it does make for a less-than-good one. "Map of the World" and moments of "Between You and Me" and "When I Meet God" may lead this album back to my player for occasional listens, however there are many finer Marillion releases that will usually take precedent. (5/24/2002)
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Marbles (2004)
B 8.5
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Mellow, sophisticated, and crafted with the expected Marillion sensibilities, Marbles is a hearty and enjoyable collection of tunes, but one that -- at times -- tries your patience as a listener. The album is a two-disc set, although there is a one-disc version available that omits a couple of the tracks. Overall, the more I listened to this album, the more I found myself wishing the band had just put out a concise single disc. The two CDs are used for a mere 98 minutes of music, and I could easily find ways to trim 18 minutes. (And here's where the patience issues come in.) The album's three epics (13:37, 17:58, and 12:10 respectively) are fine pieces, but imperfect creations that deserved to be shortened. Elsewhere, a five minute song called "Drilling Holes" is one of the band's worst songs, while two overlong seven minute snoozefests named "Angelina" and (to a lesser degree) "The Only Unforgiveable Thing" also would've sounded better on the cutting room floor. On the other hand, the album is balanced out by handful of tasteful, melodic songs that walk that fine line between Marillion's smart, sentient neo-prog flavor and flat-out radio-friendliness. For songs this enjoyable, it's a line I'm happy to walk. It needs to be stated, however, that even dazzling tracks like "Fantastic Place", "Genie", and "Don't Hurt Yourself" find ways to be overlong and over-slow. The album is filled out nicely by four short, articulate intermedio pieces labeled "Marbles I" through "Marbles IV". (2/9/2007)
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