Pete Trewavas

REVIEW: Marillion and the Positive Light – Tales From the Engine Room (1998)

MARILLION and the POSITIVE LIGHT – Tales From the Engine Room (1998 Big Eye)

Remix projects: Often dicey, usually over-indulgent cash-grabs. I always give Marillion the benefit of the doubt where integrity is concerned. In the liner notes, singer Steve “H” Hogarth says that the art of the remix at its best is to produce a cerebral trip, and I think that was the aim here. He refers to this as a “reconstruction” and that sounds about right.

Having just completed the This Strange Engine album, Marillion handed over the master tapes to The Positive Light (Marc Mitchell and Mark Daghorn) for creative reconstruction. The duo had impressed them with some early work on “Estonia” so they decided to go all-in. That track is the first on the CD, Tales From the Engine Room. It’s a swirly, heavenly version but not a drastic departure. Hogarth’s vocal isn’t chopped to bits, the melodies remain the same, and the overall structure is unchanged. It is as if the body of the song were played by Jean Michel Jarre instead of Marillion.

“Estonia” folds neatly into “The Memory of Water”. This experiment turns the song into a light dance number. It’s not nearly as great as the pounding “Big Beat Mix” on the Radiat10n CD. This version just kind of circles around without going anywhere. It’s always risky, extending a three minute song to almost ten! Sorry Positive Light, I have to give you a D on “The Memory of Water”.

If you like long bombers then you’ll love “This Strange Engine”, all 20+ minutes of it! That’s not too much of a stretch, since the original is over 15. Of this one, Hogarth says, “[it] reduced me to tears. I would advise you to listen to it on a Walkman whilst walking through the town on a Saturday afternoon. It makes everyone move in slow motion!” While it is cool, it has never given me that exact effect. It really starts to swell into dramatic waves when it gets into that “tall tales of Montego Bay,” section. A solidly trippy remix.

Onto “One Fine Day”, which was never one of the strongest tracks. With the Positive Light, it acquires a trippy jazzy slant. I don’t know what “Face 1004” is, except perhaps a Positive Light original? It bears no resemblance to the fine Marillion song “Man of 1000 Faces”, but it’s a beat-heavy dance track much in the style of the rest of this CD.

The original CD ended with track 5; reissues also contain “80 Days”. Since there’s no point in buying an incomplete version, you may as well look for the reissue. “80 Days” is far removed from its jaunty, celtic origins. Now replete with electronic beats and tribal singing, it is still a celebration of touring the world.

Tales From the Engine Room turned out to be an apt title for a successful experiment. The Positive Light took the songs down to their cores without losing what made them the songs that they are. They re-presented the tunes in a new way, in a different genre. While this is far from an essential purchase, it will be appreciated by fans of latter-day Marillion.

3/5 stars

#413: Just for the record, Meat’s gonna put it down (Guest shot)

RECORD STORE TALES MkII: Getting More Tale
#413: Just for the record, Meat’s gonna put it down

By special request of Aaron at the KMA, yesterday I ranked all the Marillion studio albums in order of preference (see #412: Just for the record, I’m gonna put it down). It’s not an easy thing to do, because any band with two distinct phases (and lead singers) is going to have lovers and haters of both, as well as fans who can accept both equally.

During Sausagefest weekend 2015, I discussed my already-completed list with Uncle Meat, who also wanted to take part. He has his own feelings about Marillion’s discography. In fact he only listed six albums. Meat is very much a “Phase One” fan, a follower of Fish who had a hard time accepting the changes that occurred after Seasons End. It’s important to note that Seasons End was mostly written (musically) with Fish. After that album, the band had to come up with new material for the new singer, and that is when they started to write very differently from before. It’s not Steve Hogarth’s fault, in Meat’s eyes, just the way the band wrote for and with him.

Here are Uncle Meat’s top Marillion albums, without commentary. He’s going top down:

1. Misplaced Childhood (1985)

2. Clutching at Straws (1987)

3. Fugazi (1984)

4. Script For A Jester’s Tear (1983)

5. Seasons End (1989)

6. Vigil In A Wilderness of Mirrors – Fish (1990)

How’s that for a “Big Wedge”? More Marillion tomorrow!

#412: Just for the record, I’m gonna put it down

RECORD STORE TALES MkII: Getting More Tale
#412: Just for the record, I’m gonna put it down

By special request of Aaron at the KMA.

Marillion have 16 studio albums: Four with original poet and singer Fish, and 12 (going on 13) with Steve “H” Hogarth. (I’m not counting the album of acoustic versions called Less Is More.) Like any band who have had more than one beloved singer, it is very difficult to try to arrange their albums in any sort of rated order. How can you compare an album like Brave to Fugazi? They are nothing alike. They share similar DNA, and the ambition to play intelligent rock music, but to say one is better than the other? I wouldn’t want to do that.

But I must. This was a request. I have to oblige.

Starting from the bottom, here are Marillion’s studio albums from weak to strong.

16. Somewhere Else (2007). Following an album like Marbles (2004) is damn near impossible. Somewhere Else has never completely clicked with me and it remains foggy in my memory. Incidentally, the vinyl version has three live bonus tracks and a slightly shuffled song order, as well as a warm sound that benefits the listening experience.

15. Happiness is the Road (2008). Consisting of a massive eight sides of vinyl (!), Happiness is the Road is broken into two albums: Essence, and The Hard Shoulder. While both discs contain memorable songs such as “This Train is My Life”, the set is too sprawling and slow to be enjoyed frequently. (The vinyl version contains bonus live tracks from the album Happiness is Cologne.)

14. marillion.com (1999). I love that the band were digging into trip-hop and writing catchy poppy songs, but as a whole the album doesn’t rank higher than…

13. Holidays in Eden (1991). Some like it, some consider it too commercial. I fall into the second category.

12. This Strange Engine (1997). I still like this mostly acoustic album (I own three copies), but it’s a departure. Iron Tom Sharpe calls this “the one that sounds like Hootie and the Blowfish”. It retains progressive moments but also stretches out into celtic folky sounds and tropical celebrations.

11. Anoraknophobia (2001). A decent album, a bit long winded but a progression over 1999’s marillion.com

10. Sounds That Can’t Be Made (2012). I think Marillion really grabbed this album by the balls. It’s fearless.

9. Afraid of Sunlight (1996). This middle grouping of albums on the list are really so close it’s meaningless. It’s splitting hairs to put them in a meaningful order. Afraid of Sunlight scores high due to the excellent title track.

8. Brave (1994). This is where Marillion-with-Hogarth really came into their own. It is still one of the most ambitious Marillion albums and an emotional roller coaster of a concept record. There’s also a heavy 10 minute jam released as a B-side called “Marouette Jam” that necessitates buying of the remastered 2 CD edition.

7. Seasons End (1989). The most difficult album of a career is gonna be the first album with the new singer. By retaining their classic sound with a few new twists and a new charismatic frontman, Marillion successfully rode through the transition.

6. Radiation (1998). I love this noisy reject of an album. It’s brilliant.

5. Script For a Jester’s Tear (1983). Fish finally makes his first appearance on this list with the very first Marillion album. Genius poetry but complicated tunes make this one a jagged-edged favourite.

4. Marbles (2004). Marillion’s first double CD studio album, never wearing out its welcome. Like Brave, but grilled to perfection and with all the accouterments.

3. Fugazi (1984). Fugazi is not an easy album to get into, with a pugnaciously opaque second side. The first side is pure genius.

2. Misplaced Childhood (1985). The record company shit their pants when they heard that Marillion were doing a concept album for their third record. The band had written two 20+ minute pieces of music tentatively titled “side one” and “side two”. After honing it live, they unleashed Misplaced Childhood to the stunned masses.

1. Clutching At Straws (1987). It not difficult to put Clutching at Straws as #1. It is one of Marillion’s most beloved, and Fish’s favourite. The dark poetry and sharp songwriting makes it a timeless perennial favourite, never stale, and always revealing new facets to its personality. An utter classic.

Marillion have numerous live albums (I lost count but well over 50 or 60) and greatest hits with exclusive material to boot. Ranking those is all but meaningless. Having said that, one essential purchase for a serious Marillion fan is their first double live, The Thieving Magpie (1988). This epic contains a full performance of Misplaced Childhood, as well as non-album cuts like “Freaks”. Another great record to own is B’Sides Themselves (also 1988), containing some of Marillion’s most memorable B-sides. These include the 18 minute epic “Grendel”, and more concise classics such as “Tux On” and “Market Square Heroes”.

Dig into some Marillion and see what the frak you’ve been missing!

GALLERY: I am once again a Marillion Web UK member

Greetings! Last month, we took a detailed look at four of Marillion’s annual Christmas releases:

A Collection of Recycled Gifts (2014)
A Very Barry Christmas (2001)
Christmas 2002 – Santa and his Elvis (2002)
Somewhere Elf (2007)

With the exception of A Collection of Recycled Gifts, these Marillion CDs were a free gifts exclusively for members of the official Web UK club. I ceased subscribing and collecting a few years ago when they switched format to DVD releases. Video is way further down on my collecting priority list. In 2014, however, I learned they switched back to CD! A double CD in fact: a live concert recorded in Chile called (heh heh) Chile for the Time of Year!

I re-subscribed just in time to get it. And it has arrived, along with the 48 page glossy Web UK magazine. This is a heavy mag, printed on good quality paper. It’s nice that some bands’ fans still value such niceties. There are four issues per year.

Below are a selection of pics. For more on the Web UK, and a better way of life, visit marillion.com.

REVIEW: Marillion – A Collection of Recycled Gifts (2014)

NEW RELEASE

MARILLION – A Collection of Recycled Gifts (2014 Racket Records)

It has been a Very Marillion Christmas this year at mikeladano.com. We’ve already taken a detailed look at three of their prior Christmas albums, all fan club-only releases. They were:

2001: A Very Barry Christmas
2002: Santa and his Elvis
2007: Somewhere Elf

Marillion stopped making Christmas albums in 2009, instead releasing Christmas DVDs. This year, however, the band has released A Collection of Recycled Gifts (Happy Christmas from Marillion). This collection compiles all of their Christmas songs, a period from 1999-present, all of them long out of print. It’s important to note that not all of Marillion’s Christmas releases had Christmas songs on them. The first, 1998’s Happy Christmas Everybody!, had only a Christmas message with a CD of new song previews and karaoke mixes. 2001’s A Piss-up in a Brewery was a special live acoustic performance with no Christmas songs, and was later reissued as its own standalone concert DVD. So those releases aside, A Collection of Recycled Gifts contains a song from each Christmas CD, along with some that are new to CD, and one that is brand new, period. A brilliant gift to the fans.

Brand new is Marillion’s cover of “Happy Xmas (War is Over)”, a John Lennon classic that very few can cover without sounding like douchebags. Marilllion seldom sound like douchebags, and this version featuring the backing vocals of the band’s kids works without a hitch. It’s rich and warm like a good cup of hot chocolate on a snowy Christmas night. “War is over, if you want it.” I’ll drink to that. I’d like that.

All the way from 1999’s marillion.christmas is the carol “Gabriel’s Message”. The interesting thing about a CD of this nature, that spans a decade and a half of recordings, is that you end up with a vast variety of material as you’ll see. “Gabriel’s Message” begins as a purely vocal performance until it turns dark and gothic with chugging guitars and haunting keyboards. Great unique version, but not one for Christmas dinner with the family, unless it’s the Addams Family. In that case, proceed.

A huge U-turn takes us to “The Christmas Song”, also known as “Chestnuts Roasting on an Open Fire”. Marillion take Nat King Cole’s cue and perform it as a jazz standard. This one is new to CD. It was originally released as a video on a 2013 Christmas DVD called Proggin’ Around the Christmas Tree. “Stop the Cavalry” from 2003’s Say Cheese is fun and goofy, a contrast to the previous tunes. Maybe it’s just me, but I had never heard this song before. It’s not a favourite of mine, so onto “That’s What Friends are For” from 2006’s The Jingle Book. I’m not sure what the Christmas connection is with this song, but Marillion aren’t making anyone forget anyone else’s version. It too falls under the “fun and goofy” category, as does “Let It Snow”. We talked about this one a bit before in my review for Somewhere Elf. This one, I love! “I’m afraid we’re all shit-faced,” indeed! By choosing such a naturally fun and familiar song, and then doing it up as a drunken jaunt in the snow complete with kazoos, Marillion hit the spot.

“I Saw Three Ships” is from A Very Barry Christmas. It sounds like a twin brother to “Easter” in some respects. Though we’re now back to soft and pleasant Christmas music, “I Saw Three Ships” is one of my favourites on the album. Elvis is back in the house for “Lonely this Christmas” from Santa and his Elvis. My favourite part is when they do it as a punk rock version, after the Elvis version! Hogarth does it with Johnny Rotten’s sneer, and I love it.

Loosely connected to Christmas is “The Erin Marbles” from 2005’s Merry Christmas to Our Flock. This is essentially a version of Marillion’s song “Marbles” done as a drunken celtic bar jam variation on “Jingle Bells”! It’s totally fun, though nobody at your Christmas party will understand what the words have to do with it, so fuck ’em! Who doesn’t love a good ol’ drunken celtic bar jam? Not me!

Getting closer to the end now, the Beach Boys are covered on 2008’s “Little Saint Nick” from Pudding on the Ritz. Sounding nothing like the Beach Boys at all, and completely like a Marillion song with jingle bells on top, I can’t see mom and dad digging this version at all. It bears striking similarities to “Deserve” from 1999’s marillion.com, and other Marillion songs such as “This Strange Engine”.

Finally 2013’s “The Carol of the Bells” has been given a CD release. I bought this one on mp3 download last year, but I will always take a CD over an mp3. I love this carol and this version of it. Marillion do this very well, traditionally, before going electric and all Deep Purple on us. They even go Led Zeppelin and James Bond at the end! Brilliant version that fans will absolutely love. Although nobody has ever done it better than Peter Griffin:

“Look at the bells, look at the bells, Holy crap here comes Jesus, and he doesn’t look too happy.”

Some songs are hits, some are misses. It is what it is, when it’s a collection of tracks that were never intended for wide release. On the other hand, I’m grateful that the band put together a compilation CD that included tracks I didn’t have before. The collector in me appreciates it. Merry Christmas Marillion!

3.5/5 stars

REVIEW: Marillion – Somewhere Elf (Christmas 2007)

MARILLION – Somewhere Elf (2007 Racket Records Christmas CD, free to Racket Club members – webfree 10)

This is, believe it not, Marillion’s 10th Christmas album of 11 total. From 2009 to present, Marillion have issued annual Christmas DVDs (which I do not collect) instead of CDs. Of their 11 Christmas albums, I have physical copies of nine. I am missing the first two, which were later reissued for purchase in mp3 format, and that is all I have in my collection.

(Note: in 2013 they released a new digital Christmas single, “Carol of the Bells”. This song has since been issued physically on the new “best of” Marillion Christmas CD entitled A Collection of Recycled Gifts which just arrived at LeBrain Headquarters yesterday!)

The reasons I selected Somewhere Elf to review are two: 1) The included Christmas carol is hilarious. 2) The rest of the songs are taken from an invite-only rehearsal performance at Marillion’s headquarters, The Racket Club. The set largely consists of newer songs from Somewhere Else and Marbles. The CD also contains the annual Christmas message from the band (6:22 long), partly apologizing for the previous year’s “amateurish and shambolic” message! This soon degenerates into joking, mistakes, re-takes and acoustic Christmas jamming, so obviously the quality level has gone up this year.

Track 2 is the official 2007 Christmas song, “Let It Snow”! This is a kazoo-laden drunken carol with new lyrics. “The Aylsebury roads are closed, Let it snow let it snow let it snow!” Hogarth’s campy vocal isn’t my cup o’ tea, but it’s all clearly for laughs. They segue into “White Christmas” before returning back to the singalong.

Found some booze in a flight case,
And I’m afraid that we’re all shit-faced,
So I guess that we’ll have to go,
Let it snow, let it snow, let it snow!

This one made it to one of my annual Christmas CDs that I give out to friends one year.

The live rehearsals might be more interesting to some. The intimate setting means Marillion play mostly mellow, dramatic songs. They commence with “The Last Century for Man”, a new song from Somewhere Else. This is another one of Hogarth’s environmental commentaries, set to a slow dance this time. An effective song, the seriously bummer lyrics are punctuated with the sarcastic chorus of “So God bless America, I mean it! God bless the UK, I mean it!” Elsewhere he says to “Climb into the car, I know that makes you happy. The sound of your laughter will get you so far.” Without turning this review into a debate, a song like this is a bit of a slap to the face, a wake up call. I don’t have a problem with that. Additionally I think it was one of the better songs from Somewhere Else.

“Afraid of Sunlight” is a song that doesn’t need much rehearsing, but I don’t mind hearing this bombastic ballad again. One of H-era Marillion’s strongest songs, “Afraid of Sunlight” is a personal favourite of mine due to the quiet verses and explosive, anthemic choruses. Hogarth is understated, and then wailing in top voice. Then from 1997’s This Strange Engine is the old concert standby “Estonia”. I always get a little bored during this long mellow trip, but it does benefit from this intimate setting with just the fortunate few fans. They applaud politely between songs, contenders for the luckiest people in England at that moment. A third long slow bomber, the title track from Somewhere Else, is another favourite of mine. There are some Steve Rothery solos here that rank among his best. Live, dare I say better? This dramatic tension-filled song is one of the highlights of their recent career.

The Marbles album is represented by two excellent songs: “Neverland” and “Fantastic Place”. Much like “Somewhere Else”, “Neverland” is a long dramatic piece with different sections and moods. It’s not an easy nut to crack, but worth getting to know. This live version is intense, and again Rothery is the star. After that much drama, there can’t be much air left in the room, but “Fantastic Place” soars. It’s a bit of a brighter number, beginning quietly, but culminating with the kind of melodic guitar work that Rothery does best.

A studio version of “Faith” was finally released on Somewhere Else, but the song saw first release on Before First Light, a live DVD from 2003. It was one of many songs initially written for Marbles, but its lullaby quality did not fit the vibe. “Feel inside the atoms where the science breaks down,” sings Hogarth on what amounts to a statement on reality, love, the universe and the human experience of it. In a 4 1/2 minute pop song. Is it any wonder why the mainstream shies away from these guys? Too cerebral.

The set closes with “See It Like a Baby”, a rocking upbeat new track that they were hyping at the time. Here in an acoustic guise, I think I prefer it to the original album version. It’s a little more special, and the acoustics chime clear inside the walls of the Racket Club. It’s also the shortest song they played at this very special gig. I’m glad special shows get commemorated and made available to people in this way. People who are truly fans got an opportunity to own a CD of a concert that only a handful witnessed, and will probably never be physically issued again. That’s mana to the collector. Since this CD was intended as a Christmas gift to the loyal, I rate it:

4.5/5 stars

REVIEW: Marillion – Christmas 2002 – Santa and his Elvis

MARILLION – Christmas 2002 – Santa and his Elvis (2002 Racket Records Christmas CD, free to Racket Club members – webfree 05)

This is the fifth of 11 Christmas CDs that Marillion released free to fanclub members. I have physical copies of nine, and legal downloads of the others I am missing (the first two). I thought the 2002 installment, Santa and his Elvis, would be make for an enjoyable review.

The intro “Christmas Message” seems to be delivered by an intoxicated band, recording in October! Laughing and doing voices, the members deliver their own personal Christmas messages to fans, if you can make out what they’re saying. For fans only! Then of course the band do an Elvis classic, “Lonely This Christmas”. Although it’s not too polished (it was recorded live in the studio) it does have some pretty cool performance moments. Hogarth’s singing is like butter but Steve Rothery’s guitar is delicious. Then, as a surprise, they do it again as a Pistols-esque punk version. Very cool.

Some recent live tracks round out of the album. From 2001 in Manchester is “Fruit of the Wild Rose” representing the then-new Anoraknophobia. This laid-back steamy number is extra slinky live. At almost eight minutes, it’s the longest track here. Surprisingly, this transforms into a heavy version of “Cannibal Surf Babe” and the two songs become one. Merry Christmas, indeed.

Then it’s off to a 2002 radio broadcast, with the two lead tracks from their new single: “Between You and Me”, and “Map of the World”. These tracks exemplify the new sound Marillion were going for at the time. They are concise, powerful pop rock songs featuring light experimentation with loops. I recall they were listening to a lot of Massive Attack and Radiohead at the time, among other artists, and usually this kind of modernization doesn’t work. Marillion pulled it off. They managed to combine the more melodic rock sounds of Holidays in Eden with a modern ethic without sounding too contrived. As much as I prefer the progressive, darker side of Marillion, they do write really great pop rock from time to time. It’s not like they sold out; there’s enough good playing here to satiate the old fans. These are the singles, after all. “Map of the World” is a particularly lush, excellent song.

The radio broadcast continues with an older track from Radiation, “The Answering Machine”. This is a song that exists in two separate live guises equally well: acoustic and electric. The original album version was electric, and that’s the version played here. I’ve become so used to the acoustic version that hearing an electric one is music to my ears. This dense rocker smokes in this version, a bit faster than usual. Then finally a duo from Afraid of Sunlight: the title track, and its epic closer “King”. “Afraid of Sunlight” fits well with the set, because it too benefited from drum loops back in ’95. It remains as powerful and classic as ever, though Steve Hogarth’s voice is raspy and hoarse in spots. As for “King”, it sounds intimate, bare and incredible as ever.

4/5 stars

REVIEW: Marillion – A Very Barry Christmas (2001)

MARILLION – A Very Barry Christmas (2001 Racket Records Christmas CD, free to Racket Club members – webfree 04)

From 1998 to 2008, Marillion released annual Christmas CDs exclusively to members of their fan club, for free. Each one was different from the previous, but you could count on some cool unreleased music every year. Of the 11 Marillion Christmas CDs, I have physical copies of nine, and legal downloads of the others that I am missing (the first two).

Today in 2014, Marillion have released a new “best of” compilation CD of their Christmas tracks called A Collection of Recycled Gifts. This CD also features new material, but it will be most fans’ first chance to hear some of these songs. I thought that would make an excellent occasion to review a selection of the most interesting volumes of the past Marillion Christmas CDs.

I decided to start with 2001’s A Very Barry Christmas. “Barry” was their mascot during the Anoraknophobia period. This was their fourth Christmas CD, and the second I received. The content on this installment includes Christmas music, specially recorded acoustic versions, and unreleased remixes. (The reason I’m not reviewing the third Christmas album, the first one that I owned, A Piss-up in a Brewery, is this. It was later reissued as a regular live non-seasonal DVD that I can review any time. And I will, because it’s great and that one remains my favourite of these Marillion Christmas releases.)

The album commences with “I Saw Three Ships”, a studio recording of the traditional carol. Of Marillion’s Christmas music, this is my favourite song. When it opens you’d be forgiven for thinking it’s a vintage outtake from Clutching at Straws or Seasons End. In fact there is even an echo of “Easter” in some of the instrumental melodies. They also segue into “O Come All Ye Faithful”, keeping things delicate but electric. “I Saw Three Ships” is, in my opinion, an undiscovered gem of the Marillion back catalogue. Then, even though it’s not listed as a separate track, Marillion’s annual Christmas message is included at the end of the song. This time only Mark and H showed up. They describe “I Saw Three Ships” as a Christmas carol hybrid, and I agree with that description.

Then, onto the presents!

The first batch of songs are taken from a 2001 acoustic session at Marillion’s home base, the Racket Club. Every tune is a brand new song from Anoraknophobia, giving fans an early opportunity to hear acoustic renditions of the new material. “This is the 21st Century” is reduced to piano and voice (presumably both by Steve Hogarth). It works well in this setting, even though the album track is long and complex. “Between You and Me” is complete with the whole band, including keyboards and drums, rendering a catchy sorta-unplugged version of their new single. “Map of the World”, co-headliner of that same single, is the stronger of the two songs, but not necessarily in this setting. I think “Map of the World” works best with all the bombast and vocal glory of the studio version. It needs to be let loose, like the character in the song who wants to see the whole world. “Separated Out” was originally the heaviest song on Anoraknophobia. It’s certainly an interesting choice to do acoustically, but I like the way it builds. It’s actually quite cool.

“Number One” is an interesting selection, because it was first unveiled on 2000’s Christmas album, the aforementioned A Piss-up in a Brewery as a preview of Marillion’s new music. The studio version was later included only on the limited deluxe edition of Anoraknophobia, so it’s a bit of a hard song to come by. The cello part is captured nice and beefy, and this ode to artificial pop singers is flawless. The thing about Hogarth’s lyrics is, he’s not really bitching and complaining. Indeed, he compares the precision of a #1 pop performance to that of a figure skater aiming to hit a 9.5. What he does is use his words to get you thinking about the subject, and I like that.

The album closes with three remixes. From the difficult to appreciate marillion.com comes the jazzy dubby trip-hop of “House”. This interesting remix by Marc Mitchell spends a couple minutes just focusing on the muted trumpet, which is never a bad idea. This is a 12 minute remix and it runs the gamut, but it certainly proves that Marillion can and do anything they want musically. Also from marillion.com is “Go!” remixed by somebody called Size 9 Cooperative. It has been robbed of its lightly throbbing pulse; it has sadly flatlined and been reanimated as a dance-bot. This is, quite honestly, terrible. If I was doing a joke remix of a song in order to make fun of remix cliches, this is how it would sound. This is one Christmas present you’ll wish you could return to the store, only to find you weren’t given a receipt. An instrumental mix of “This is the 21st Century” is more my speed. This is the album version stripped of lead vocal and laid bare. I enjoy this kind of track because you can really hear the interplay of the instruments. With Marillion, that is never really boring. This is a full-length track by the way, all 11 minutes of the song. Treated instrumentally, it has a nice ambient quality that would work well on an album such as Pink Floyd’s recent Endless River.

3.25/5 stars

REVIEW: Marillion – Less Is More (2009)

MARILLION – Less Is More (2009 Intact)

I’ll be honest here: I haven’t been into Marillion much, post-Marbles. 2004’s Marbles is my favourite H-Marillion album, and I wasn’t into the two studio followups. I found Somewhere Else to be a rushed and somewhat uninspired, and the sprawling Happiness Is The Road all but impenetrable. Therefore I’m not as familiar with Marillion’s recent more live output as I am with the pre-Marbles stuff, so that’s my problem reviewing Less Is More. The song “Wrapped Up In Time”, I couldn’t tell you how the song goes until I hear it again.

I am, however, extremely enamored with Marillion’s previous acoustic CDs, the double Live At The Walls, and the fanclub exclusive A Piss-up In A Brewery. Marillion are a band that truly shine in an acoustic setting, but I wasn’t all that excited about another one. How badly do we need more acoustic Marillion? I didn’t think I needed another one, but I bought it anyway, because…the collection you know?

I was wrong. Less Is More (a studio acoustic recording instead of a live one) is just as great as Live At The Walls, with many songs given a fresh arrangement. Some, such as “The Space…”, are the same acoustic versions that the band has been playing for a long time, but others are fresh and inspired. Truly, this album sounds like a labour of love to me. The band’s lust for experimentation has come out beautifully in an acoustic setting, with a song like “Interior Lulu” actually quite a bit better than its original 1999 (marillion.com) counterpart. The songs are subtle, with slight percussion additions, but not a lot of bells & whistles. One of the best songs is the one new one, “It’s Not Your Fault”, which outshines some of the classics. I found the acoustic version of “Hard As Love” to be even more enjoyable than the original rocking version, and quite a surprise too, because I didn’t think it would lend itself well to an acoustic arrangement. Other highlights for me included “Memory Of Water” and “This Is The 21st Century”.

The two bonus tracks on this CD, “Runaway” and a cover of “Fake Plastic Trees”, have been released before on Live At The Walls. (“Fake Plastic Trees” was also a bonus track on the CD single for 1998’s “These Chains”.) I have always been fond of “Fake Plastic Trees” and I prefer Marillion’s version to Radiohead’s. (I’m not a big Thom Yorke fan, but Hogarth really sings his heart out on this one.)

This album is so good, it really revamped by interest in Marillion. I’m glad I bought it! For non-fans, this is a great accessible introduction to a band that by all rights should have been huge. The quality of their songs, as displayed on Less Is More, is simply world-class.

5/5 stars

REVIEW: Marillion (as “Remixomatosis”) – You’re Gone (2005 promo EP)

Welcome back to the Week of EPs! Each day this week, I’ll be checking out a variety of EP releases, both famed and obscure.

MONDAY: Aerosmith – The Other Side (1990)
TUESDAY: Wolfsbane – All Hell’s Breaking Loose Down at Little Kathy Wilson’s Place! (1990)
WEDNESDAY: AC/DC – ’74 Jailbreak (1984)

REMIXOMATOSIS – You’re Gone (Promotional 2005 Intact records)

Eager to cross over to new fans, in 2004 Marillion released an album called Remixomatosis. It was a 2 CD set of fan remixes of tracks from 2001’s Anoraknophobia. Hogarth-era Marillion have not been remix-shy, having done something like this on 1998’s Tales From the Engine Room EP. Aware that chances of being played in the clubs were slim, the following year Marillion released a promo EP of three more remixes under the band name Remixomatosis. The name Marillion appears nowhere on the sleeve.

99% of the time, I really dislike remixes, especially when songs are danced up. I bought this for the collection, but let’s give it a spin. “You’re Gone”, originally from Marbles, sounded very little like the “Debonair Dub Mix” on this EP. All I can hear from the original track is Hogarth’s vocals. Maybe some keyboards, but who knows because the dominant part of the song is an annoyingly repetitive synth & beat. This goes on for an agonizing 7:55. This is not a song I would listen to for enjoyment.

The “Plasma Dub Mix” of “Between You and Me” is almost twice as long as the “Marillion Vs. Plasma” version on the Remixomastosis CD. This track adds a new bass line consisting of four notes that repeat over and over and over and over and over. Then a little bit of Hogarth’s vocal is dubbed over synthesizer lines. There have been better remixes of this song, notably the Mark Kelly remix from the “Between You and Me” CD single. After a couple minutes, the remixer Robert de Fresnes throws in some acoustic guitar from the original song, which really only makes me want to hear the original song. If you like repetitive music made by computers, go for it.

The closing track is the best (and shortest) one, the “Into the Fire Mix” of the superb “Don’t Hurt Yourself” from Marbles. As arguably the best song on Marbles, it is a difficult track to ruin. The remixer Cameron Lasswell wisely leaves Steve Hogarth’s vocal intact. The vocal hooks on this song have always been fetching. They are now cloaked in spacey synths, which I prefer to dumb repetitive synths. It sounds like a song by Lights, perhaps, or one of her soundalikes.

I can’t rate this EP very high. This is a collectible, pure and simple.

2/5 stars

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