Steve Hogarth & Richard Barbieri
The Weapon But The Hand

Not all bands and not all artists can be said to have generated the adjective derived from their name. Just as with crimsonian, zappaesque, or zeppelinian, when one says marillionian, it can be immediately understood what it's about, especially if the reference is to the second part of the English group's career, that is, the Hogarth era.

This is where this work is born, because its roots can be traced back to 2001, the year in which Porcupine Tree embarked on a massive tour as support for Marillion. Thus, Richard Barbieri, who had been with the legendary Japan of David Sylvian and was then the Porcupines' keyboardist, met Steve Hogarth, the voice and main composer of the second phase of Marillion.

With the two protagonists framed as two of the most modern and refined minds of post-1990 English music, we can approach this work with at least a respectful and reverent attitude towards a product, perhaps not much awaited or heralded, but which from the very first listen lays firm foundations for a serious and lasting success.

"Not The Weapon But The Hand" is impeccably constructed, modern yet familiar sounds intertwine also thanks to the professionalism of personalities like Dave Gregory (former XTC), who handles guitars, bass, and all orchestral arrangements here, then there's Danny Thompson on bass (historic member of Pentangle, but also with Gabriel, Kate Bush, Talk Talk … etc.), and again Arran Ahmun (from John Martyn's band) and Cris Maitland (who was also with the Porcupines) alternating on drums.

What you hear on the album is a mix of ambient atmospheres, references to electronics, new wave, classy pop, something reminiscent of the latest generation Marillion, or at least from “Brave” onwards, obviously to Porcupine Tree and Talk Talk from the “Spirit Of Eden” period. Everything on this album flows slowly, passionately, rich even in the most intimate moments where the whisper of the voice blends with a few synth notes or a minimal soundscape.

Above all dominates the form of large-scale pop song and packaging, and although the work is quite distant from the most canonical progressive forms, I believe that at its core a progressive structure exists. But it is modernity and a new and unique writing of perhaps familiar themes, yet beautifully told, that prevail. Something harkens back to the most elegant and refined works of Roxy Music and their leader Bryan Ferry, something is Gabriel-like, yet much belongs to the two authors, who shine with personality and savoir-faire.

Already from the opener “Red Kite” the atmosphere and themes become stimulating, asserting themselves with seriousness and commitment. The lyrics, often very complex and personal, harmonize well with the atmospheres and Hogarth's immense versatility is the mother of the infinite melody that permeates the entire work, as clearly exemplified by the beautiful "A Cat With Seven Souls", but also the particular textures of “Your Beautiful Face” enhance the listening, developing a very high pleasure, in a rondo of great stylistic refinement. Filtered voices, rich in electronic effects, and sounds from a folk of an unknowably near future accompany the album to its finale, with the hypnotic “Lifting The Lid” and the short title track: not the weapon that kills, but the hand that guides it. An essential album to understand where serious music will go in the future.

p.a.p. Sioulette