Marillion ~ England

Radiation (1998)

At the bottom of this post, for the Brave album, I wrote: "I suspect later albums are going to be even of lesser interest to me, but I'll buy them as I find them in the wilds and report back."

And I have done just that, finding quite a bit of Marillion in the wilds for pennies. Some are live albums, so I just jettisoned them to the sale pile. As I write this, along with Radiation, I have three other studio titles found in the last year. When I get to them, I will report here my findings, though I suspect I won't have too much to offer for fans or curiosity seekers.

Because, as I predicted on Brave, I don't think these albums are going to do very much for me. Radiation is about as far away from my interest level as can possibly be, at least sporting a prog rock lens. It's more of an indie rock album, with some 70s classic art rock sounds. Mostly mellow and a bit of a slog to get through. Never really understood how my prog rock brethren managed to land on the sound that Marillion and others were peddling during this era. I was plugged into a different lamp it seems.

Apparently the 2013 remaster brings about a much better end product. I seriously doubt I would be swayed all that much, but who knows.

Source: 2001 Sanctuary UK (CD)

10/30/25 (review)

Fugazi (1984)

Going back to 1983: It had taken me a few listens to get into, but Script for a Jester's Tear ultimately won me over. So I was quite excited to obtain Fugazi as soon as it was released to the marketplace. I had yet to hear IQ and other bands coming from the neo prog camp - or what was starting to be referred to as the New Wave of British Progressive Rock. Therefore Marillion was my gateway drug into contemporary progressive rock. As their music went, so did my interest in it.

The opener 'Assassing' is an exhilarating piece, and had me thinking real time that this was going to be an album for the ages. But it quickly dropped off from there - at least in terms of energy level. It was something of a head fake - a distinctive turn to hard rock. Which in retrospect many of the neo prog bands were quite adept at. Ultimately I didn't even hold onto Fugazi, thinking it second rate prog for newbies, falling into that 90s crowd that turned their collective noses up at such twaddle. It wasn't until 2005 that I decided a revisit was in order. OK - now I get it.

Fugazi is a progressive rock album. There's a revelation, eh? Why I didn't have the patience for it initially is rather perplexing considering all the 70s albums I'd absorbed by then. Most of them not exactly easy listening. Perhaps because Marillion were a contemporary group - and they did after all start the album off guns-a-blazing - I guess I just wanted more of that. Rather Fugazi has all the trademarks of the neo prog genre with digital instrumentation, complex yet accessible compositions, and a Gabriel-esque vocal delivery. The reality is Marillion were a foundational group of the movement versus a follower. Major label exposure and subsequent sales totals only pushed the new genre into the limelight for the masses. It wasn't to last but the middle 80s held much promise, thanks to the efforts of Fish & Co.

For 2023, it brings in the whole 80s nostalgic pull. Of course I conveniently filter what I want from it, and I'm completely dishonest with myself on what the 80s reality truly was for me. Nothing beats rose colored glasses. You oughta buy a pair of 'em. +1 listen.

Ownership: 

1984 EMI UK (LP). Gatefold. Acquired in 2011.

1984 Capitol (MC). Acquired in 2026.

First copy: 1984 Capitol (LP). Acquired in 1984.

1984; 12//05; 4/23/23 (review)

Misplaced Childhood (1985)

I bought this new on LP (US version) when it first came out, as I was still quite the fan of Marillion. Real time, Script for a Jester's Tear had won me over on repeated attempts, and Fugazi on a lesser scale, so Misplaced Childhood was under evaluation from the beginning. I liked it - just enough. But ultimately it found itself on the sale pile with so many records of its ilk back in the 90s. Now for the last three years, I figured this might be an easy find on LP to try again, but no such luck. I have found it, but the dealers wanted too much, and I wasn't certain I would enjoy it, so I passed. When this CD showed up a thrift shop, I had to pull the trigger. And I'm happy to say that - perhaps no surprise - I'm getting more out of this now. Of course it's Neo Prog 101, and is just as much AOR music as it is Genesis-like prog. Whereas the latter was all I wanted back then - and certainly wouldn't complain today if it really was that way - my tolerance levels for 80s arena rock has gone up substantially. There's the combo of well written tunes and time-of-life remembrance. This is a CD that will likely be replaced with an LP, as that's where the nostalgia lies. And the UK originals are a gatefold versus the single sleeve American version. I think I'll splurge for that. We'll see (and that day arrived, locally at a record store no less, some five months later.)

Ownership: 

1985 EMI UK (LP). Gatefold. Acquired in 2022.

First copy: 1985 Capitol (LP). Acquired in 1985.

1985; 3/26/22 (review)

Brave (1994)

In a parallel universe, I could see myself having stuck with Marillion and been a loyal fan to this day. In the life I chose, I remained loyal to IQ instead. There were a lot of parallels between the two bands from their beginning neo prog roots to their ultimate embracing of pop rock. Of course Marillion were far more popular with the general public, so it was much harder for them to retrace their steps. Steps that IQ proudly went back on and never lost their way again. Because I ultimately dropped Marillion at the time after Misplaced Childhood, I never heard another one of their albums, only adding Clutching at Straws many years after the fact. And with Marillion what that basically means is that I have no foundation whatsoever with the "Hogarth era". Even Fish will tell you that Hogarth has done an extraordinary job with the band, and it made no sense for him to return. To be honest, this album was much better than I thought it was going to be. It's not really my kind of progressive rock, definitely forged into the 90s model of mixing in commercial sounding pop and alt rock. But there was far more 80s neo prog in here than I thought there would be. Especially in the former half of the album. I almost kept it anyway. But I have no nostalgia here as I do for other bands of the era. And that's what would have been needed for me to continue on. I suspect later albums are going to be even of lesser interest to me, but I'll buy them as I find them in the wilds and report back.

Source: 1994 IRS (CD)

3/30/22 (review)

Also own: Market Square Heroes (EP); Script for a Jester's Tear; Clutching at Straws; Afraid of Sunlight; This Strange Engine; Sounds That Can't Be Made.

3/26/22 (new entry)

Dawn ~ Switzerland

Darker (2014)

Dawn are a band from Switzerland who have two albums and an EP to their credit. Darker is their last full length released well over nine years ago. On Darker their music intersects retro, neo, and modern styles of prog rock. The good news - for me at least - is those designations are on a sliding scale with retro being by far the largest representative. Neo is also welcome here and they do add some of that punchiness that I enjoy from the genre. I'm not so keen on the modern branch of progressive rock, which to me sounds more like Pink Floyd styled Art Rock and misses the dynamism and edginess the classics brought forth. Elements of Genesis, Yes, late era Porcupine Tree, and Pendragon are on display here. One reviewer said it reminded them of The Flower Kings. I think it's much more vintage than that, but I can understand why someone would make the comparison. There's a lot of music to absorb on Darker and this revisit resulted in a +1. Earned its shelf space.

I recently learned the band is still active and plan on recording a new album soon. I have more data about that on Under the Radar.

Ownership: 2014 The Laser's Edge (CD). Lyric booklet. Acquired in 2014.

10/4/14; 10/31/23 (review)

Also own Loneliness.

10/31/23 (new entry)

Egonon - Risveglio. 2011 Italy

The 1970's Italian progressive rock greats are regarded as such because of their innate ability to compile and distill the influences of their day. Namely classical, jazz, rock, indigenous folk, avant-garde, and canto. And a big old scoop of youthful exuberance. Considering this, Egonon are true to the philosophy of their ancestors. Rather than recreate the sounds of the 70s, as many Italian bands are doing today (and wonderfully so I might add), Egonon are assimilating their own influences. In their case, the list might look like: Heavy Metal, Alt-Rock, World Music, funk, and... everything that was also included in the 1970s Italian progressive rock scene, including the end result of said scene, which they clearly respect and pay homage to. It may be a restaurant with too many items on the menu, but no doubt a fascinating place to visit. Give them a try and taste for yourself.

Ownership: CD: 2011 private

9/8/13 (new entry)

Henry Fool - Men Singing. 2013 England

12 years after their debut, Henry Fool finally comes back with their sophomore effort. The all-instrumental, ironically titled Men Singing is an atmospheric, lush, and overall relaxing affair. And very professionally produced. Almost too much so. What saves this from being a somewhat typically cold and clinical piece of modern rock, is the defiant use of analog equipment. While it may be trendy to pull out an M400 Mellotron nowadays, not too many bands out there are boldly going forward with Moog Taurus bass pedals and fuzz bass. Add to that a magnificently toned psychedelic guitar (from Phil Manzanera no less) and sax/flute, and you truly have something worth levitating to. I suppose if I were to critique, or in reality make a personal request, I would prefer a bit more of a "rough edge" to the overall product. Perhaps throw in one bluesy organ based jam to release the tension that is built.

Ownership: CD: 2013 KScope

9/2/13 (new entry)

Henry Fool. 2001 England

I suppose a Porcupine Tree comparison is unavoidable on Henry Fool's debut album. Especially considering the vocal tracks. That is to say, the more melancholic efforts from Porcupine Tree replete with mellotron. The instrumental parts range from lounge jazz to pure psychedelic bliss - and all points between. Radical in its own way - though not necessarily ground breaking. It's not until track 4 that vocals are even heard. There are 16 tracks in all. This is the same spirit that classic progressive rock had in the 1970's - making music just to make music. No end purpose in sight. Exciting concept if you think about it...

Ownership: CD: 2001 Cyclops

2004; 2012; 3/21/13 (new entry)

La Desooorden - Ciudad de Papel. 2007 Chile

La Desooorden are very much a modern progressive band, that utilize current production techniques as well as some dark, atonal metal guitar. So elements of Tool and Porcupine Tree can be discerned on a quick glance. That alone would not make an A-list group, but underneath this superficial view, we find a group exploring all aspects of exciting music. You find Latin percussion, jazzy bits, RIO inspired avant progressive, folk melodies, early 70s Italian progressive rock and a host of other exciting ideas. The list of instruments utilized would take forever to type out. La Desooorden are an intriguing, complex and deep group - a group that reveals something different with each listen.

Ownership: CD: 2007 private

The CD is a private release with no catalog number. It's a beautiful package with a tri-foldout digipak and a nice insert.

2008; 8/28/12 (new entry); 8/15/17