Posts Tagged ‘ Pete Trewavas ’

Album of the Week 44-2017: Marillion – Seasons End


When original singer Fish left Marillion, it was considered the end of an era. However, it was also the beginning of a new era. Steve Hogarth, who still fronts te band to this day, has an emotional depth to his voice that Fish just did not have, allowing the band to branch out even further away from the strongly Genesis-inspired neo-prog of their earliest work. Along with its predecessor ‘Clutching At Straws’, ‘Seasons End’ can be seen as sort of a transitional phase. Not because of the singer change between the albums, but because it signals Marillion’s shift towards the most emotional progressive rock created to date.

Most of the music had already been written before Hogarth, himself a great composer, joined the band, so it’s not too surprising that ‘Seasons End’ is stylistically similar to ‘Clutching At Straws’. The record has a dark, passionate vibe, with occasional lighter or more upbeat moments keeping the darkness from becoming too overwhelming. The ‘Incommunicado’-rewrite ‘Hooks In You’ is the most obvious example of this, but the opening one-two punch of ‘The King Of Sunset Town’ and ‘Easter’ is remarkably positive as well, even though the lyrical contents – about the turmoils in China and Northern Ireland respectively – are at times quite bleak.

As usual though, Marillion shines brightest in their darkest moments. Especially the finales of the original vinyl sides are nothing short of incredible. The moving ‘Seasons End’ has been built upon a haunting clean guitar line by Steve Rothery – who still has the most beautiful clean guitar sound in the world – and features bone chilling performances by both Rothery himself and Hogarth. Closing the album is ‘The Space…’, Hogarth’s first major compositional contribution to Marillion along with ‘Easter’. This synth-driven masterpiece works its way through multiple climaxes and features some incredible vocal work.

Despite those closers being the undisputed highlights of the record, most of Marillion’s albums are remarkably consistent and ‘Seasons End’ is no exception. Each and every one of the seven other songs are worth hearing. ‘Berlin’ in particular is a bit of a beautiful suite of shifting moods and building intensity. ‘Holloway Girl’ and the surprisingly short ‘After Me’ both start out as moody ballads and gradually turn into something more bombastic, while there are excellent performances by everyone involved all around. Steve Rothery in particular truly delivers. He is easily one of the most tasteful and melodic lead guitarists in contemporary music.

Though the singer change would spark an endless “who’s better?” debate, it was exactly what Marillion needed around the time ‘Seasons End’ was released. The album was an essential step in refining their own sound and evolving from their neo-prog beginnings into a truly progressive rock sound that encompasses various influences from the alternative pop and rock field. And even more importantly, ‘Seasons End’ shows that Marillion consists of a group of excellent songwriters that can do more than just play their instruments really well. They can carry a memorable tune much better than many other bands in the genre.

Recommended tracks: ‘Seasons End’, ‘The Space…’, ‘Berlin’

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Album of the Week 36-2016: Marillion – Marbles


Last week, I wrote my review on Marillion’s new record ‘F.E.A.R.’ for Gitarist. Without giving too much away: I called it their best record since ‘Marbles’. Which may have been a bit lazy, because ‘Marbles’ is the designated “best since” reference for the Brits, since they’ve moved a bit too close to alternative Pop on subsequent releases. Those influences are quite prominent here as well, but somehow they blend with Marillion’s progressive roots much better here. Ironically, while it sounds less cliché Prog than some of their peers, it made Marillion one of the few bands to actually do something progressive in the 21st century.

As musicians, Marillion has become increasingly understated since the early nineties. Steve Rothery is one of the world’s most tasteful lead guitarists, but most of the time, he takes a backseat to the song and provides color through sounds that sometimes don’t even sound like a guitar. But most illustrative of the musical development is Mark Kelly. Remember the somewhat shrill keyboard leads on their eighties output? Kelly went along with the times and is more interested in laying down textures these days. The relevance of no one taking the spotlight can’t be emphasized enough.

Centerpieces on ‘Marbles’ are – maybe somewhat predictably – the three epics. ‘Ocean Cloud’ – the longest, clocking in just under 18 minutes – is perhaps the most traditionally progressive of the lot, with it’s clear movements, distinctly Pink Floyd-like ambient sections and quiet-loud dynamics. Closing track ‘Neverland’ is a downright beautiful ballad with one of Rothery’s finest guitar solo’s of all time and though the band hasn’t sounded like Genesis for the better part of three decades, I consider ‘The Invisible Man’ the ‘Musical Box’ of this century; singer Steve Hogarth’s emotional range strengthens the increasing intensity in the music and the band very creatively links highly different sections together.

The shorter songs lack the lasting power of those three monuments, but there’s still plenty to enjoy here. Influences from U2 (‘You’re Gone’) and The Beatles (‘The Damage’) are quite obvious, as is Radiohead’s influence on the sonic possibilities of the instruments, but Marillion stubbornly refuses to copy a formula and consistently turns it into their own thing. Highlighting the more concise side of the record are the jazzy psychedelia of ‘Angelina’ and the schizophrenic composition ‘Drilling Holes’, in which highly rhythmic sections with excellent bass work by Pete Trewavas are contrasted by calmer, late sixties Beatle-esque passages. The four short titular interludes are nice, calm pieces of music as well.

Make sure you check out the double cd version of ‘Marbles’, or else you’ll miss four songs, one of which being the amazing ‘Ocean Cloud’. Also, albums like these are just worth hearing the way the artists intended them to. It never was artistic vision that Marillion lacked and ‘Marble’ is one of the best examples to illustrate that fact. While it’s not their best record – ‘Brave’ will forever hold that title for me – it is one of the very few satisfying examples of a band with a “progressive” label actually still progressing. And one of the few that can make simpler songs work.

Recommended tracks: ‘The Invisible Man’, ‘Neverland’, ‘Ocean Cloud’

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