Marillion
Marbles

THE REVIEW

Considered in a somber march on the inexorable avenue of sunset, the Albion Marillion unleash a performance that leaves one astonished: "Marbles" is a double compact disc distributed directly by themselves (the version available in stores is the single one), yet it shines with an overall quality that is astonishing. The band's idea has bewildered industry insiders: the project was indeed funded by the fans themselves, whom the band asked for a sort of "voluntary subscription" in order to create the "masterpiece" with adequate technical means. And, needless to say, they succeeded.

The memory of the best Marillion is closely linked to the figure of vocalist Fish, as well as to an album of the caliber of "Misplaced Childhood". His successor, Steve Hogarth, has nonetheless demonstrated enviable interpretative qualities and today, despite age and a more measured range compared to his beginnings, he seals every track of "Marbles" with exemplary vocal pathos. The over thirteen minutes of "The Invisible Man" serve as a perfect, highly emotional introduction and are played almost "at the fingertips", demonstrating the undeniable technical skills of the group. Listening, echoes of Pink Floyd, U2, and even Coldplay emerge (certain bass/piano combinations are unmistakable), but the magic of Marillion remains intact, as clearly evident from the sugary enchantment of "Angelina," a sort of coy sonic cunnilingus, from the psychedelic tunnels of "Drilling Holes" or from the epic breath of the wonderful "Neverland," a true transcendent sum of the entire concept.

The Marillion of 2004 do not evidently fall into any "post" category of rock of our time, and indeed they often gaze out onto the vast sound prairies of the Seventies. Yet "Marbles" evokes genuine and stunning emotions, skillfully playing with the nostalgic perceptions of the collective unconscious, in a maze of references that first lulls and then fascinates. It is an album born from a love story, musicians and enthusiasts uniting their forces for a common project, and for once we can affirm that money was the means and not the end of the affair. If "Misplaced Childhood" can be framed in some ways as their "Dark Side Of The Moon," this "Marbles" could be the equivalent of a "Wish You Were Here".