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| Marillion - Marbles |
 Released: 2004 Label: Intact Records / Dead Ringer (dist. Caroline Distribution) Cat. No.: 12772 (2CD) / 6501 (1CD) / 23 (US 1CD) Total Time: 2CD: 53:43 / 45:14, 1CD 62:03 (plus bonus material) | |
Reviewed by: Stephanie Sollow, October 2004 Having been relatively disappointed with Marillion's last three or four albums - relative to the exalted opinion I have for the albums that preceded those (basically, Script For A Jester's Tear through This Strange Engine), I wasn't sure what to expect from Marbles. I'm still the diehard fan, having been one of those who pre-ordered the album before it was even recorded … perhaps I should say "ever hopeful" rather than "diehard." Oh, I wasn't and still am not hoping for another Misplaced Childhood or Brave, at least not in terms of sound. But I have been waiting for a Marillion album that has grabbed me the same way as any of those albums from the period I mentioned. I'm happy to say that Marbles is that album – at least mostly part. One listen to just the first four tracks (of the 2-disc version) upon album's arrival months ago, sent thrilling chills down my spine. It's the kind of album we hoped the band would make, really. Proggy and modern at once. There are two versions of the album available – the double disc version reviewed here (available from the band's website) or the single disc retail version. There are 4 tracks on the two disc version not on the retail version, "Genie," "The Only Unforgivable Thing," "Ocean Cloud," and "The Damage." The latter, interestingly enough, is, as of this writing, the latest single. Anyway, I'll cover mostly the pieces found on both versions. If you enjoyed Brave, Afraid Of Sunlight and This Strange Engine, then you will enjoy Marbles. Stylistically, it melds many elements from all three with elements from their more recent trio of albums, Radiation, Marillion.com and Anoraknophobia. Back are those wonderful Rothery guitar solos, too. The album starts off with the dramatic "The Invisible Man." A throbbing yet subdued tribal beat from Pete Trewavas on bass and Ian Mosley on drums eases us in to this moody and atmospheric piece that recalls Brave, and yet gives it a mellow-yet-funky groove. In fact, the many changes this piece undergoes makes it as though you are getting the whole dynamic shift of Brave in a single song. Steve Hogarth's vocals are at times understated, a la Brave, and yet there also sections that are powerful statements. And you know, that dynamic is a Marillion characteristic. At various points during this piece "Accidental Man" (TSE) and "Cannibal Surf Babe" (AFS) come to mind, the latter due to the wavery, watery keyboard passages from Mark Kelly. This piece also signals some of the other textures that you'll hear on the album; Kelly's piano-like tones in a later passage, one that is bluesy and jazzy, presages the late-night at the jazz club feel of "Marbles 1," the later, orchestral and fantastic "Fantastic Place" (one of my favourites), and the subtly seductive "Angelina." The emotion on "The Invisible Man" is so marked that for the ending section, H is so taken that his voice breaks. At first, I found this a flaw, but now, some 2 dozen or more spins later… no, not a flaw at all; rather, it is a moment that brings the raw emotion into sharp focus… making it real. "Don't Hurt Yourself" has a bit more of a roots rock/REM-like feel to it, including a touch of slide guitar. It's not as moody as the typical REM song … maybe more like "One I Love," only more country. It's a nice piece, and nicely done, but for long time Marillion fans, a little pedestrian. If "Afraid Of Sunrise" was their southwest song (California, Arizona, New Mexico), this is the south … but maybe that comes with the REM thought and that band's Georgia origins. But also, like "Afraid Of Sunrise," the open road is evoked -- interpretively by the music, literally by the lyrics. The first single, "You're Gone," recalls latter day U2 musically, even down to a funky beat. In fact, it sounds more programmed than performed except for H's emotive vocals. Think "Mysterious Ways" in terms of feel and groove… sort of... not as angular in the guitar phrases. It's nice song, well-done, and certainly "single" material. Lyrically, it's as emotionally charged as anything the band have done in their entire career – here, one is dealing with and coming to accept loss… of what sort one can interpret in their own way. "Angelina" evokes the soft, languid and moody sound of Brave, combining it with more tinkly, jazz piano-like textures mentioned earlier. Rothery's solo here is not typical Rothery, and yet has his signature "make-every-note" quality about it. The Beatles are evoked on "Drilling Holes" ... on the one hand, it's a dark, rumbling piece (bass and percussion) that hints at something darker and more dangerous is to come… and then shifts gears and becomes a dreamy piece… even a little baroque at times… oh, think a combination of "Blue Jay Way," "Strawberry Fields," and "A Day In The Life" all put into a blender. So yes, the more psychedelic aspects of The Beatles. "The Damage" is a track that is also Beatles-esque at times, but also a bit sexy … a bit of strut with a wink… much less subtle than "Angelina." I had a flash image of the band with their tuxes on (reference intended), top hats and cane… on a sparse stage, a staircase behind them, swooping up into the overhead stage lights… all five dancing a little softshoe… to a rock beat … or maybe even a little Fred Astaire like dancing… And no, they didn't do this on their recent US tour (though H started the set in a suit). The lyrics here repeat phrases from "Genie," which is, as mentioned a 2-CD version track only. Both the double-disc and single disk versions end with "Neverland" (though the European 1-CD version has a bonus track, and the North American version has a bonus video). This track I first heard on the band's 2003 Christmas CD, and felt hopeful about what we would hear on Marbles based on this track. The track opens with resonant, rich piano-like and vocals – another initially understated performance from H. It opens up – again in that dynamic way the band have -- leads to a glorious Rothery guitar solo… as I said in my review of the Christmas CD, it's comparable to their classics of "Easter," "Estonia," and "Seasons End." I'll have to say, really, the whole Seasons End album without repeating any moves made there… but it would have fit quite well there. H creates his own echo towards the end, which I thought was a studio effect, but I think not hearing this live… now (thought there may be some of that in there, too). Reading the lyrics, I see the "Neverland" reference is to Peter Pan... Wonderful, wonderful track. The different sections of "Marbles" each have different characters. The first, as mentioned, is a jazzy; the second, "Marbles II," is a bit Bob Dylan-like, especially in H's vocal delivery. "Marbles III" is a mellow piece, mostly tinkly piano-like keyboards accompanied by a full swell of what sounds like a Rhodes (it leads seamlessly into "The Damage"). "Marbles IV" is sparse and fragile, filled with guitar and keyboard effects (kinda spacey in a way). Of the tracks that are only on the 2-CD version, the best by far is "Ocean Cloud," one my favourites and one that is haunting like "Estonia" and "Out Of This World" and yet, also expansive like "Easter." Oh, it doesn't sound like either of those tracks, but there is the unmistakable guitar work of Rothery here, his bending of notes taking you back for a moment to Clutching…. Interestingly enough, like those two, it's about water. It's an epic track, both in scope and length. Another "concept album" in a song, full of shifting dynamics, bits of narrative (soundbytes, in this case). One thing Marillion do well, and there are many things, is capture the feel of water, whether it's in the shimmery guitar phrases from Rothery or the wavery keyboards from Kelly. Well, they do that here, before the song explodes in to a ballsy section that doesn't lose the feeling of being tossed to and fro on the wild sea. "Genie," a track that leans more toward their past few albums, with a hint of the Beatles, too. It's hard not to hear a bit of John Lennon in H's delivery. Actually, it's a bit closer to what I had hoped from H's solo album, Ice Cream Genius. Having started off with a "proggy" piece ("The Invisible Man"), they follow up with a more poppy "single." "The Only Unforgiveable Thing" begins with church like organ that gives way to heart-beat like drumming and bright, chiming guitar. The keyboards and the understated vocals give this a very dark and moody feel. Overall, I'm quite happy with this album (and very, very happy with several tracks). And, I'd have to say, I haven't been this thoroughly pleased (and excited) by a Marillion album since Afraid Of Sunlight I'd have to play the songs in the single disc sequence (at least until I buy my own single disc version… yes, I can be that "diehard") to see if that works for me as much as the 2-Disc sequence… which does seem like a weird thing to say. The 2-CD version is worth getting however, just to hear "Ocean Cloud," if nothing else. Fortunately, the other highlight tracks, "The Invisible Man" and "Fantastic Place" and "Neverland" are on the 1-disc version, too. Rating: 4.5/5 [See also Eric's and Marcel's reviews -ed.] More about Marbles: Track Listing: 2-Disc Version: Disc One: The Invisible Man (13:37) / Marbles I (1:42) / Genie (4:54) / Fantastic Place (6:12) / The Only Unforgivable Thing (7:13) / Marbles II (2:02) / Ocean Cloud (17:58) Musicians: Contact: Website: www.marillion.com Discography
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