Marc Almond
The Dancing Marquis

Well, look who's back; in great shape and always proactive, Marc Almond releases his umpteenth album (I challenge anyone to tell me the exact number), and once again, he does not disappoint. After the rather mediocre "Stanger Things" in 2001, Marc hasn't missed a beat, rejuvenating himself by asserting his crystal-clear class and unmistakable style while fearlessly experimenting with new ideas and unconventional solutions. "The Dancing Marquis" continues this virtuous cycle impressively. This time, Marc Almond doesn't invent anything "special," but he still manages to both convince and surprise with an album that, in some respects, runs counter to his more recent work: eight songs in the tracklist, which is the most evident difference considering that many of his albums since '96 have averaged 15/16 tracks, not always beneficial, especially thinking of "Heart On Snow," which would have been absolutely sublime with a bit less prolixity. The fundamental characteristic of "The Dancing Marquis" is undoubtedly that it is a fun and smooth listen, an album of great energy and levity, quite possibly the lightest episode in the entire discography of the English artist.

Stylistically, there is a not massive but still important presence of electric guitar and glam rock sounds, and more generally a very direct, sober, and linear sound compared to what we are used to from him, while not forsaking the richness and scenic impact that have always been the hallmark of this great artist. Effective and inspired songwriting, especially in two songs that, in my opinion, are already instant classics: "Tasmanian Tiger" with its shimmering and engaging melodic progression and a brilliantly self-ironic text in which I see a bit of myself, and "Death Of A Dandy", a breathtaking ballad with a very British stamp enriched by elegant guitar phrases à la Brian May, one of those songs that manage to be melancholic yet wonderfully luminous and full of emotion. "Worship Me Now", with its pulsating electronic/dance sounds (which greatly remind me of some episodes of "Fantastic Star") goes against the grain of the rest of the album but in mood, approach, and energy fits perfectly and is another episode of great impact, which also applies to "Love Is Not On Trial", a sweet and intense ballad that brings back the retro atmospheres of "Varietè," "The Dancing Marquis", which kicks off with a lively and incredibly catchy orchestrated glam rock, "Burn Bright", boasting a beautiful melodic crescendo accompanied by strings and female counter-vocals, and "Idiot Dancing" with its semi-acoustic rock with an incisive and captivating rhythm.

Does "The Dancing Marquis" add something completely new to Marc Almond's repertoire? No, but it remains a beautiful, very enjoyable album, with the only criticism being the presence of two relatively useless remixes of "Worship Me Now" at the end of the tracklist. If someone wants to get to know this artist starting with something simple, immediate, and accessible, "The Dancing Marquis" is the perfect solution, and for those who already know him well, it is still a great listen; better the "craft" of Marc Almond than the "genius" or so-called genius of many overrated individuals who today enjoy widespread fame and visibility. "The Dancing Marquis" is an excellent example of a quality product from an artist who has aged excellently, who, despite a career spanning several decades, is still a "brilliant creature," timeless and irreplicable.