Marillion
Sounds That Can't Be Made

From an emotional standpoint, Marillion are certainly a guarantee, and they prove it with this new work. As a great admirer of Marillion, I was eagerly anticipating this release, and I knew it wouldn't disappoint me. Indeed, it confirms all their aptitude for conveying strong emotions, a particular prerogative of the never-too-praised Marillion led by Steve Hogarth.

Honestly, I've never understood why the second era of Marillion never entered the hearts of fans like Fish's did. Really strange, because it almost seems evident that Hogarth's have an extra gear. Firstly, they have a better vocalist with a more refined voice... but also a more personal sound, not derived from the seventies, more delicate and refined in the sounds.

This album certainly adds nothing to what these Marillion have already done, but all the characteristics are there and well expressed. It may not be on the level of albums like "Brave" and "Marbles," but it can easily compete with records like "Afraid of Sunlight," "This Strange Engine," or "Anoraknophobia."

We are faced with an album with delicate and touching atmospheres but also characterized by quite catchy melodies. The two most varied and intense tracks are probably the two longest: "Gaza" has a decidedly unsettling first part that almost touches on metal sounds but later becomes more reflective; "Montreal" is instead an interesting emotional journey, varied in sounds, and manages to maintain an undiminished level of pathos throughout its 13 minutes. Among the "long ones" is also "The Sky Above The Rain" which at certain moments, thanks to intense keyboard and vocal work, truly seems to open the heart towards the sunlight!

The other tracks, however, are not to be underestimated. The title track, for example, presents an initially robust melody with angular orchestral keyboard riffs but then evolves into a slower yet still intense melodic atmosphere. The following "Pour My Love" is decidedly delicate and touching with sounds similar to those of an electric piano and a gentle mellotron, one of those songs that can warm your heart on winter mornings, perhaps marked by emotion and romance. Also worth mentioning is "Power" with a very catchy melody, almost bordering on pop, yet extremely well-crafted in sounds.

The two less brilliant tracks, however, seem to be "Invisible Ink" and "Lucky Man," which are by no means bland; the carefully crafted sounds of the former and the interesting bluesy melodies of the latter, endowed with a quite resolute melody, especially in the chorus, are delightful.

Overall, I can say that the album is a real pleasure, adding nothing to what Marillion has previously done, yet they have delivered 74 minutes of sincere and moving music as they have always been accustomed to doing. We can say that what was expected has arrived. Now, I just have to eagerly await the double date at the Alcatraz in Milan on January 22 and 23, which the Mayans surely won't stop. Two evenings that promise to be different and interesting; taking the whole package seems mandatory. I'm sure they won't disappoint!