MARBLES

CD1 1. The Invisible Man, for the Marillion brand, nothing more, a beautiful melodic build-up and then it's gone, for over 13 minutes; it's beautiful, it's the same, it's monotonous despite the dreamlike build-up. 2. Marbles I, a marshmallowy interlude from the interwar period, ambient and opening for 3. Genie, the gentle folk ballad, the neo-spirited spirit has been replaced by consensual build-ups with beautiful instruments in the background, a damaging fact, and the final solo won't change anything. 4. Fantastic Place, for the classical instrumentation up front, imprinting a dark, intimate feel; the build-up, the bluesy undertone, good but repetitive. 5. The Only Unforgivable Thing, for the organ intro, just the way I like them, divine. Then it's off to the sound without the blood, it builds, the haranguing vocals to put you in a trance, Steve with his neck does everything to achieve it. The martial hit and the captivating finale please me, and the organ concludes. 6. Marbles II follows as a second interlude for Steve's beloved little nursery rhyme. Yes, in 2 minutes, I'm hooked to see him on his pedestal, but no more. 7. Ocean Cloud for the dreamlike musical slap, on the order of 'Brave' with strength, character, captivating breaks, a melody that swells and where Steve's voice becomes one with the music, which proves that it's possible; more than talking about it, listening to it, nothing better.

CD 2 8. Marbles III begins with a small variation without any particular hook. 9. The Damage follows, a festive atmosphere, getting into it with the guitar flirting with the madness of Queen, an energetic rock with heavy reinforcements of intoxicating keyboards behind, a pleasant surprise. 10. Don't Hurt Yourself for a folk, western, Cajun, Irish sound, good, an intimate atmosphere that builds to a pervasive arpeggio base. 11. You're Gone without comment, a crescendo, beautiful but conventional; the rise, the addictive vocals but nothing unique to vibrate to it; oh, weariness? 12. Angelina, bluesy sweetness, latent atmosphere, languorous musical peregrination, simple but very addictive in the good sense of the word; it's melodic but the captivating dark side is well staged here. 13. Drilling Holes for the little nursery rhyme flirting with the great Beatles with the suave harpsichord that goes with it. The best part here is the vocals, which evolve between softness and screams, not monotonous at least, and which fit well with the bucolic, rustic instrumentation with its garden sound effects, letting 14. Marbles IV unfold on the last of the 4 interludes, very psychedelic here, solemn to launch the 15. Neverland terminal, no worse, no poorer, in continuity. The benchmark of the group that stopped making neo-complex music to launch into these unstoppable melodic and dreamlike crescendi adorned with the solemn solo, the one that pierces the sky; an echoing vocal like XTC did so well in its time, yes Marillion also makes you revise; in short, the piece that will go off in waves until the finale; ah the outro with bells to wake up anyone who has fallen asleep.

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