|
Anoraknophobia Marillion |
|
From the name alone, many are probably thinking, who? Weren't they the ones… And, what's this, another album? The thing with Marillion is they've been long associated with the cream of AOR/Prog-Rockers from yesterday, had one big hit or two - were there more than "Kayleigh?" Probably so, but who knows? I'm guilty of misconception or rather was - simply because I thought once their original vocalist Fish and they parted ways some ten or twelve years ago, maybe fourteen, but they both seemed to drift into obscurity in spite of continually creating some inspired music. Well Marillion never did shelve themselves as many of us thought but towards the end of the eighties, mainstream success and further recognition was elusive and only found on European shores if anywhere at all. But like many of the greats who'll usually be remembered if not given their just due until years after they've faded into the wind, such might well be Marillion's fate and yet it's okay. This is no comeback nor have they really ever come back from anything-yet as a record, "Anoraknophobia," which is the last time I'll mention it by name here, finds them in an offbeat and rather colorful mood. One need only look at the album cover for starters, but I'm hearing something quite vivid and fanciful and forward looking. For anyone not familiar with the band members, that's no problem, the guys have made sure everyone knows all the intimate details about what makes them tick in the cover booklet - for instance not only does vocalist Steve Hogarth handle the singing duties in his usually dignified and soothing manner, he also performs morris dancing and base jumping. I didn't know that… in fact I don't even know what either of them are. One of the originals Steven Rothery, the man responsible for this "strange engine" that is Marillion, to keep steaming ahead while the track-crossing of their past was flashing red seemingly years ago, not only handles guitar duties, he's also a Sci-fi buff who doesn't like cold wet days or unexpected bills… I'm with ya on that Steve! Stepping back a moment before moving forward, "Kayleigh" for anyone who still remembers back to 1985, was their most conscientious attempt at being commercial in what was an otherwise intricate and ambitious record, "Misplaced Childhood" that can only grow more vintage with age. By now this "new" record has been having the same effect though it's easier to listen to than the latter. "Map of the World" is clearly a candidate for a single release with its catchy folk-like guitar background blended nicely by keyboard harmonies, soulful vocals and all around upbeat nature. Complexities crop up, emotions rise and fall, but more often than not, Marillion's overall defining characteristic is to create musical pleasantries, nearly a karma of sorts that can't help but lift spirits and embody a faith when none was previously available. Their expressive talents run deep and some recordings provide more depth than others… this one contains such elements but with elemental as a key word, also goes off in its own mischievous direction and showing that boisterous side that'll never fully give in to age-see, "Quartz," "Separated Out," and the monumental "If My Heart Were a Ball It Would Roll Up Hill." Conversely and expectedly, "When I Meet God" takes a serious turn beckoning the questions of "what if" and "why," while "The Fruit of the Wild Rose" speaks of longing for lost love… Altogether, this is a typical of Marillion's talents for writing stimulating yet soothing songs with an adult contemporary feel emanating from what is essentially the mind of an inquisitive child, and here, collectively, they're thoughts merge as one and they've again defied expectation by not simply existing but evolving and excelling. Released by Sanctuary Records Review by Vinnie Apicella
[va85@columbia.edu] |