Marillion
An Hour Before It's Dark

Great return for Marillion as well, another band that needs no introduction, after a fairly significant absence of almost 6 years. We left them with the impressive and velvety "F.E.A.R." and they continue in that direction.

Marillion, under Steve Hogarth's leadership, has always been characterized by a delicate and atmospheric sound, but there have also been rockier moments and a quest for sonic exploration. "An Hour Before It's Dark" doesn't alter that formula that defines much of the English band's production: the guitars appear just enough, the keyboards are light, velvety, and fresh, Hogarth's melodic but decisive voice is a safe bet for them, and this is their guarantee. In particular, here they choose to mimic the structure of the previous album: few but generally long tracks, some of which are miniature suites composed of multiple parts, just like in "F.E.A.R.", and even here these compositions have been broken into distinct audio files, a choice I always find largely debatable; what is unique should be left in a single audio file, as there's a risk of fragmenting the narrative and misleading the audience into thinking they are facing a series of distinct tracks instead of a unified musical discourse; in our case, particularly, the first two compositions flow smoothly and are not even particularly long, there is nothing justifying their fragmentation.

Playing it safe is not a problem, though, the compositions and melodies remain of high quality, and the band pours all of its 40 years of experience into it. What worries me a bit is the risk that the band's sound remains stuck in these clichés and doesn't move beyond them, but I admit that one probably can't ask too much after 40 years. In the past, the band dared a bit more, especially in the '90s, when we think of the pop-rock of "Holidays in Eden," the variety of solutions in "This Strange Engine," the unusual brit-pop of "Radiation," or the indie rock of "Marillion.com"; my question is... will they still treat us to something a bit more different or diversified?

The band, however, seems to have almost realized they need to insert some distinguishing elements, and we notice it, for example, in the subtle bright sounds of "Be Hard on Yourself" (which if it weren't for the delicate touch would even recall "Seasons End"), in the fairly full-bodied synths of "Murder Machines," or in the almost trip-hop initial section of "Care."

But let's avoid being too demanding, it's an album that does full justice to Marillion, showcasing them in all their splendor, and we are more than satisfied.