AN HOUR BEFORE IT'S DARK

This is more a reaction to a first pair of listenings to the album than an elaborate analysis of it. One shouldn't do that when the music hasn't opened the door to you nor infused your system yet, but that's not the case now, since I feel myself comfortably seated in the heart of this music, and wishing to share my impressions.

The mini-epic Be Hard On Yourself opens the proceedings very appropriately on a high note, with a powerful vocal delivery by Hoggarth and great symphonic frame by the band. The second track Reprogram The Gene brings a more conventionally square rhythm and a pretty disjointed quiet/loud alternation. After that, the fire calms down to a more song-oriented format, until The Crow And The Nightingale come, really nice. In the last two epics, Sierra Leone and Care, we get a rebooth of the customary level of intensity and complexity, with inspired electric guitar solos by Steve Rothery, as it is supposed to happen in an album released under the Marillion brand.

Not flawless, but loaded with lots of excellent music and things to say, this new album still carries the torch, even not breaking any new ground, but only showing pride, and taste, and ideas, and true respect for their own legacy and for their fans.

Wow! I didn't expect such a good album considering I have always preferred the Fish era of the band, but honestly this is one of the best works Marillion has put out in years. Very melodic but without being cheesy, with loads of intense moments filled with inspired keyboads and guitar solos throughout, a very good rythm section and the gorgeous voice of Hogarth, plus a modern and original sound. Heaven for fans of melodic prog. Now the rating:

Be Hard on Yourself - 9/10 Reprogram the Gene - 9.5/10 Only a Kiss - 7.5 Murder Machines - 10/10 The Crow and the Nightingale - 8/10 Sierra Leone - 8.5/10 Care - 9/10

4.5 stars IMO, this is going to be a strong contender for album of the year. Bravo!

Wow indeed!

4th of March 2022 held releases from two of the big bands of modern progressive rock, namely Marillion and The Flower Kings. Their contributions to the vitality of progressive rock cannot be denied and the fact that they are still going strong makes me happy.

Marillion's latest release is their best in years. Dare I even say the best of the entire Hogarth era thus far? I think so. And there have been some good Hogarth albums over the years. Season's End, Brave and Afraid of Sunlight were all fantastic early offerings. And in later years Marillion have progressed into something very nice indeed, with Marbles being their crowning jewel.

Up until this one. This album is just THAT good. It's fresh, it's progressive, it's melodic, it's technical, it's emotional, it's reflective, it's COLOURFUL.

I also recommend reading (or listening carefully to) the lyrics. They are very poetic while still being completely down to Earth, as per usual with Hogarth. By the way, Hogarth does not sound like a 65 year old singer. Not at all actually; his voice is better than ever. Good on him!

Track ratings:

Be Hard on Yourself: 10/10

Reprogram the Gene: 10/10

Murder Machines: 9.5/10

The Crow and the Nightingale: 8.5/10

Sierra Leone: 9/10

Care: 9.5/10

The Marillion I always wanted

There was always something about Marillion that kept me from being more than an infrequent fan. This is something different. There's nothing in the melodies, instruments, mix or anything else to turn me off. It's just good. Really good.

I passed it on to my best music friend and even on first listen, he made some points that I agree with fully: 1) "This is an early contender for album of the year", 2) "I was able to enjoy this as new music, completely out of the context of the band I knew" (Big Fish era fan in the day).

Awesome vocals, great compositions, great instrumentation, great, catchy melodies, no cheese. It's also got a vibe. A dark vibe, without being overly melancholic. It's just right, and with the world where it is at the moment, we need more "just right".

It's simple. The best Marillion album in many, many years. Exciting, tense, serious, melodic... We are not going to discover Marillion now. They can do it well, badly and regularly. Here they do it well, very well. Having this now from such a long-standing group is simply a luxury. The interaction between lyrics and music is fantastic. It's hard to tell if this is prog or not. It's... Marillion. Just listen for a few seconds to know who we're talking about. It is incredible how a group has come to achieve such a personality starting from origins in which some people said they were simply imitators of Genesis. They never have been so, but their personality now is definitive. H. Is better than never even when in the documentary that accompanies the DVD he states that his role has been limited to lyrics. maybe it's because of that, I don't know

A disappointment. Mediocre. Maybe it's because I'm getting older and my memory goes back a bit too far, but this album seems nothing more than bits and pieces of other older Marillion albums, and not the better ones. Perhaps they intend to have more of a "pop" feel to it, because that's what sells records. Or perhaps Rothery and Kelly have put more effort into their solo projects, leaving fewer original ideas for the main. I would put this on the level of Radiation, or Anoraknophobia (Anorak minus the song Fruit of the Wild Rose).

When the OP said this contains many recycled riffs, I resisted that description at first; but now, however, after many listening sessions I now must agree ? the album clearly lacks something where originality is concerned. There is more than just recycled material, but not much more. Three stars.

I haven't heard anything new from Marillion in quite some time. I didn't know that they had released a new album this year and I wanted to know the current sound of the band. I've been tremendously disappointed when listening to this work that has nothing to do with the last album I heard from them: Marbles (although it had its faults, I thought it was an interesting work). An album without cohesion, with songs that never manage to develop. Steve Hogarth's voice that sounds deep but without any interesting vocal lines. the melodies and guitar solos that are within the reach of any average blues guitarist. Just a bunch of songs that show how little inspiration they had when creating this.

The last time we got a Marillion record, it displayed a band expressing sadness and despair at the state of their home country, as well as the world at large. 2016's Fuck Everyone and Run (F E A R) was a foreboding piece of music that spoke of the "every man for himself" mindset and how it's become more prevalent as the years have gone by. According to singer Steve Hogarth in an interview with IM Music Magazine:

"I have a feeling that we're approaching some kind of sea-change in the world ? an irreversible political, financial, humanitarian and environmental storm. I hope that I'm wrong. I hope that my FEAR of what "seems" to be approaching is just that, and not FEAR of what "is" actually about to happen."

Considering everything that's happened socially and politically since 2016, I think it's fair to say that Hogarth was pretty spot-on. However, given that Marillion's latest effort An Hour Before It's Dark was recorded right in the middle of the "storm" Hogarth predicted, the final result exudes a surprising amount of confidence and hope compared to its predecessor.

On a stylistic level, An Hour Before It's Dark is your typical Hogarth-era Marillion album: dramatic neo-prog with a contemporary slant and touches of alt-rock. Opener "Be Hard On Yourself" acts as an assurance that the melancholy and world-weariness of F E A R wouldn't be completely absent from this project; guitarist Steve Rothery's signature reverb-laden melodies give a haunting ambiance as Mark Kelly's stark keyboard lines loom over the soundscape. Still, there's a surprisingly upbeat nature about it all as well. The drums are often peppy, and Hogarth's vocal performances are incredibly expressive and inspired, yet there aren't any real tonal clashes. "Be Hard On Yourself" - and the album as a whole - is a delicate balancing act between despondence and hope, represented through both its lyrics and compositions. In this opening number, Hogarth is simply asking for people's accountability in the messes they've created, citing how spoiled and selfish much of the population is.

It's worth noting that the majority of the tracks on An Hour Before It's Dark are presented in a suite-like format, much like F E A R. It's a great way to construct these pieces, as each song is given several related movements to grow and develop over time. "Reprogram the Gene" is a wonderful example, as it allows the band the means to gradually move from a tense hard rocker to an optimistic anthem over the course of three separate pieces. But, as with Porcupine Tree's The Incident or Haken's Virus, you can still listen to each individual section as its own track rather than digesting the entire epic in one go. Needless to say, these suite-like tunes are the best displays of the band members' skills as storytellers and musicians, with "Care" being the finest showing of this. This sprawling closer is the most sociopolitically-inclined track on the album, as it quite clearly details the trials and tribulations created by the COVID-19 pandemic. A compelling arc is formed, gradually switching from the perspective of the frightened, discouraged patients to the "angels" in hospital clothing caring over them. It's a beautifully inspiring way to close out the album, and the instrumental passages carry it out incredibly well. Kelly's keyboard work deserves a special mention, as his droning chords and colorful arrangements contribute to each tonal shift perfectly. Add to that some soaring guitar leads from Rothery, and you've got one of Marillion's finest Hogarth-era pieces.

An Hour Before It's Dark doesn't undo any of the darkness and anxiety of F E A R, instead opting to expand upon it with cautious optimism. Truth be told, Marillion's been in a perpetual state of instability - stylistically and quality- wise - since Fish left the group. They've cycled through so many genres and influences trying to find an identity with Hogarth as their frontman; unfortunately, that's just a testament to the large shadow that was cast by Fish when he departed. However, if the last few records are any indication, it seems as though we're finally reaching a new creative renaissance for the group - one that returns to their more politically inclined work (Marillion do have punk roots, after all) while balancing melancholy and catharsis. An Hour Before It's Dark currently stands as the best post-2000s Marillion album, and it'll be one hell of a difficult one for them to top.

This one has more energy and groove than their previous album FEAR, which is something good for me. The guitar is also very present too and the mix is really nice and balanced. I'm not a fan of Marillion post-Fish but I think this ones work a lot better than anything they have made recently.

It's proggy, emotional, lots of nice guitar licks and solos and there's some good presence of drum and bass that gives this a nice energy. There's some U2 vibe due to use use of synths and the voice of Steve Hogarth, but the final result is a lot more pleasant to listen.

Care is a great and beautiful track, and Murder Machine works really well as a single. Reprogram the Gene is the standout track, IMO. Its final section is really beautiful and standouts from the rest of the album.

The Good, The Bad and Ugly.

Kind of a dramatic description of Marillion's new album An Hour Before It's Dark, but this is dramatic stuff. But is it helpful? Well, we'll get to that. I want to split this review evenly between the album's music and the music's lyrics. First , the good and the bad. Musically, AHBID is very good, not great, but very good with some exceptional highpoints. The album's leadoff track "Be Hard On Yourself" doesn't do for me, I'm afraid, as it doesn't set up the album musically and grab you by the lapels, as the old saying goes. It's pleasant in it's undramatic workman-like 3 suite form. The song's anemic sound mix doesn't help, as Ian's drums are muffled and muddy and Pete's bass is almost invisible. But the album starts cooking musically with the second mini suite titled "Reprogram The Gene". The old Marillion magic is now present, with excellent playing and melodies, as well as a much better sound mix that brings the rhythm section back into the soundstage, where it remains for the duration of the album. "Murder Machines" is a catchy song with a great rhythm and it's no surprise that it was picked as an album single. But it's not until "The Crow And The Nightingale" that Marillion score the first of the album's homeruns. A moody and emotional piece with driving guitar and keyboard instrumental sections, as well as an honest to God choir adding more emotional queues, without sounding the least bit pretentious. Not an easy feat. "Sierra Leone" is a piano driven ballad that again morph's into emotional sounding musical passages, but is more of a palate cleanser for the album's magnificent closer titled "Care", which somehow takes all of the best attributes of the proceeding songs and ramps up the musicality ten fold. It features some of the best of Steve Rothery's guitar playing heard in many a moon, and is another quintessential and classic prog song by the group.

Now for the ugly. When Marillion's last studio album F.E.A.R was released in 2016, the world was in the grip of Trumpism, Brexit, the aftershocks of Occupy Wall Street and dozens of other social-political situations, which that album more or less addressed and the group's anger at these situations was welcomed by fans who felt the same. Anger loves company. With An Hour Before It's Dark, vocalist Steve Hogarth is singing about situations of the last few years, such as the Covid pandemic, nurses and first responders, and dare I say it, passing away, all in his own poetic multi meaning style. Unfortunately, misery doesn't really love company, despite the common misconception. Reminding people of what they lived through is no cure for a disease. To put it plainly, it's cathartic healing that the masses are craving at this point, not reminders of their plight. Hogarth had a great opportunity to infuse his fans with hope with this album's lyrics, the one thing that's so badly needed. Unfortunately, he failed and instead wrote a history of the times we know so well. And would rather forget. So, 3 stars for an album that I will seldom play again.

That we are, after some 40 years of this magnificent band's existence, debating whether the 2022 opus is the finest of their career (to date) is a remarkable commentary on not merely the staying power of Marillion, but the capacity the band have to constantly push not only the boundaries of rock music, but, more to the point, themselves. Not for this collective sitting on comforting laurels, and the fact that this album jumped in straight at number two on the UK album charts upon release shows that they continue to excite and delight a growing audience of younger rock fans. Not all of our kids groove to corporate garbage reality shows.

To regular readers of my reviews on PA, it is known that Marillion remain my favourite band, so it is somewhat difficult sometimes to approach, as one always must, a review in an impartial manner. What I will say to begin is this. An Hour Before It's Dark is a work which demands some careful and patient listening before it finally "hits you" and you are left knowing that you are in the company of something pretty special. To coin a well worn phrase from Marillion days of yore, play it loud with the lights out. Repeatedly.

FEAR on release was lauded as an album of its time. Well, judging by recent tragic events, especially with regard to obscenely rich oligarchs soaked in blood milking this country dry, it was truly ahead of its time. With regard to Hogarth's lyrics here dealing with his well travelled commentaries on climate change, let us hope that his fears are misplaced.

Some commentators have stated that this album is a retread of FEAR, except with more "upbeat" and "sunny" music lifting the gloom. Well, up to a point, Gracie. There is most certainly an urgency to much of the music here, interspersed with some gorgeous lilting symphonic movements which do take long term fans back quite a few years, particularly the unsung period between This Strange Engine and Anoraknophobia. The very welcome addition of choral soundscapes and Our Friends from the Orchestra add a lustre which takes this album beyond a mere rock journey.

It should also be pointed out that whilst much of the album was influenced heavily by COVID and climate disaster, as is always the case with Hogarth, the whole is far more nuanced. We have here a wonderful tribute to Leonard Cohen, a fable about finding a rare diamond in Sierra Leone, and even on the most glaring COVID track, Care, much of it is, in fact, a paean to a friend dying of cancer. The genius of Hogarth is to intersperse such lyrics into a coherent whole which demand that the listener takes his/her personal relationship with the meaning.

As with FEAR, the band split the longer tracks into separate movements, but as with all complex structured music, the album needs to be heard as a whole piece, as opposed to random entries on some digital playlist.

The urgency hits us straight between the eyes with album opener, Be Hard On Yourself. Hogarth excels himself lyrically on this, and it is a set of words which already is proving itself prescient in a short time when it calls on us all to rein in our greed, our rampant consumerism, our planet destroying selfishness. If nothing else, the economic pain being inflicted by COVID and Putin might well leave us with no choice but to reassess our lifestyle in the face of hyper inflation and global shortages. Let us hope we are all "in it together", eh? Don't hold your breath, though.

On this album, there are three bona fide Marillion classics. Murder Machines, the single, is a cracking track which races along at a fair old pace, with some pulsating riffs by the ensemble, and the emotion of the music matches the plaintive cries of h putting his arms around her. Urgent and emotional rock music at its best.

A short comment here about the rather lovely short instrumental which precedes this magnificent track, namely Only A Kiss built on a Trewavas bass line and Kelly chords, I wish this could have been extended. It is far too short, and an extended piece by a band not known for instrumentals would have added a lot of value, I feel.

The Crow and the Nightingale is quoted as Rothery's favourite track on the album, and careful listening has confirmed it for me. A lovely choral intro building into an ethereal piece prompts the wonderful In Praise of Folly adding classical textures to Hogarth's lovely tribute to Cohen. Mid-section, the piece simply soars, especially with the soundscapes built by Choir Noir. It rather takes the breath away, as does Rothery with a guitar solo dripping with emotion and taking the ensemble to a place few of us are lucky enough to be talented enough to write and perform. This is one of the finest tracks ever recorded by the band and is almost too beautiful for words.

The third in this venerable list is the album's closing suite, Care. This is split into four distinct mini-sections. Maintenance Drugs opens with a vicious bass line backed by some clever drums and guest bongos, shakers, and cowbell by Luis Jardim, and features another thundering, yet emotional, Rothery riff. It's actually pretty funky at its core.

An Hour Before It's Dark revisits the album theme and especially that of the opening track. Deceptively simple, it is led by a wonderful Mark Kelly performance, who is at the heart of much of the inspiration and playing on the album as a whole.

It is his piano which leads us into Every Cell, which is such a sublime tribute to life, love, death, and a nod to the real message of Sierra Leone, that is there is far more to us than wealth and material possessions. At the end of the day, it is our core humanity which matters. The piece ends with a guitar solo which reaches into you and transports you into a higher plain. Mosley and Trewavas back this up with a huge noise. It is Kelly who brings us back down to Earth and leads us into what many, rightly, feel is just about the pinnacle of this wonderful band's long career.

Angels on Earth is beautiful. It is lyrically wonderful. It is musically thoughtful and mood stirring. It refers to the frontline workers who took the brunt of the pandemic, and there is an evocative picture which inspired it with the physical album. These people were angels, and they are not on the walls of churches or glib halls of fame. It does not matter what one's politics or attitudes towards the official response to the pandemic are or were, the sentiments expressed here are a universal truth dealing, again, with our core humanity. The guitar solo is incredible, Kelly creates a huge symphonic background, the rhythm section thunders, and that choir again. But the last word to h, because the closing vocals are enough to bring the coldest hearted person to tears. Staggering, what a performance.

And so to the rest. As mentioned above, the opener fairly races along, and is a belter of a track. Reprogram The Gene is another climate crisis inspired piece and following an initial pause continues the pace of the album opener, but is, perhaps, a wee bit too disjointed in parts to be wholly effective. The band don't half rip through it, though, especially on the final part, A Cure For Us, which roars along.

I love the story behind Sierra Leone, that of a man finding a priceless diamond, but refusing to sell it. There are some wonderful musical segments in this, sensitive in part, and thrilling in others. This is the other track on the album which demanded repeated listens prior to setting out my review, because on initial listening, I really did not like it. My opinion has changed, and it is now appreciated as an important element of a wonderful album, albeit with the caveat that in parts I still find it a little bit too wordy, and wish that the music had been allowed to breathe a wee bit stronger, for example the closing segment of The Diamond and the opening of The Blue Warm Air, where Rothery and Kelly especially bring some warmth to proceedings. Sometimes less can be more. I do, though, love the pace, urgency, and lyrical urgency of the closing segment, More Than Treasure.

These, though, are minor quibbles. So, to the burning question amongst fans raging for the past couple of weeks since release. Is it their best? My opinion is no, but there is are caveats to that opinion as well. The first is that that we are even talking about such a thing after a career spanning in excess of 40 years is a testament to the genius of Marillion. The second is that the best of their career is a pretty high bar given the likes of Brave, Marbles, and FEAR. What we have here is an excellent album, right up there with the best of them. It is an important album which deserves praise, and demands attention.

The album starts with some short choir arrangements and some piano and gets in a faster pace quickly with a 9 minutes piece divided into short tracks. The song as the title suggests is rougher and shows an edgy rhythm vibe. This song set the atmosphere of the whole album. I enjoy the fluidity present throughout the six tracks with a Steve Hogarth in perfect form and behind him, a groovy bass sound of Pete, a Mark Kelly that brings some nice textures, and a Steve Rothery guitar playing that is subtle but emotional. "Murder Machines" with his short electro sound at the beginning is a message of anti-technology and another highlight of the album that is not letting you down any minute. You will find influences of their past releases, but this is the first time since "Brave" that they have reached a cohesion in their music that made me think that this could be their finest album. There is a lot of piano in this album despite the energic style found throughout the songs where the quiet parts are not stretched out for too long. "Maintenance Drugs" song is a bit different with a cool and funky bass of Pete and features some exquisite guitar playing that takes the song to another level. It ends with an intense crescendo and a song that shows some hope for the human race.

40 years ago, a "new" progressive rock band released their debut single, "Market Square Heroes" and I rushed out to buy it on 12" and was blown away by what I heard. I followed their career avidly but for one reason or another it wasn't until the 'Misplaced Childhood' tour that I finally saw them play, by which time I was a huge fan. Then it all changed. I have seen them multiple times since Hogarth joined, and have all the albums, and when I came back to the UK in 2017, they played the festival I was attending but to be honest I was thoroughly bored. That they are very good at what they do is never in doubt, but they are a band who have left me behind and I still believe their best recorded works are the first four albums combined with material they were playing prior to their debut.

But, they are a band I keep going back to, and while these days they do not perform music I really want to listen to for pleasure, there is no doubt there are still a great many fans who do not feel the way I do, so when I heard they were releasing their first album for six years I knew I would end up getting it. It always takes me time to adjust to their style, as to me this often feels less than a band but more of a singer with accompanists, but once I got past that I realised here was a group who have produced something which in many ways is a step in the right direction. Hogarth is still front and centre of course, and there is not nearly enough Rothery, but there is more of an edge here and it is not so clinical and sterile as much of their music has been in more recent years.

The result is an album which is intensely listenable and to my ears is probably the best thing they have released in the last 30 years. Does it stand up against material they recorded with Fish? No. The band may share the name and personnel yet are a very different beast, but there is no doubt there is a spark here which has been missing from much of their output. There is more depth and variety, and this leads to an album which is enjoyable, and while never truly essential is certainly worthy of investigation even from old cynics like me who felt their best years were well and truly behind them.

Let's be real here. This work is non-essential.

I can imagine that many Marillion fans welcome this new record. I guess when you are a fan, you are happy with every quality output coming from them.

But I look at it in a different way. So here is my personal opinion. As a prog fan, I love work that pushes the envelope or surprises me in a positive way. I don't get it here. Nothing on the album feels new or fresh. I feel I heard it all before. Often better. The songs are rather straightforward. Hardly any ebbs and flows. And, quite frankly, I'm not impressed by Hogarth's voice at all.

It is so boring, it annoys me. I rate it fans-only material. 2 stars.

At this stage in any bands musical journey, they are usually broken apart, filled with various substitutes, still hanging onto songs from a distant glory. Not so with Marillion! After Fish left, the remaining four members, armed with new frontman, Steve Hogarth, still continue to create and amaze. This new entry, into their collection of beautiful Neo-Prog albums, is a shining star example of the special gifts, this amazing band bring to your ears. I won't go into each song, as so many before me have done an excellent job of. The more I listen, in detail, to each section, each thoughtful lyric, each layer of sonic beauty, the more I fall in love all over again. Adding the Friends from the Orchestra and the beautiful Choir Noir, adds so much depth and beauty, to what was already breathtaking, lays a finishing touch to a job very well done. This is my favorite band, so call me a little prejudiced but I absolutely love this creation...from Marillion!

Marillion, Marillion is no longer to be presented, no longer to be compared, you just have to talk about it with your guts, far from criticism, far from fanatical Ayatollahs ready to be ostracized as soon as "we don't say like them". Marillion let's say it straight away released an album with 3 great tracks, a hymn title where the progressive instrumental developments are missing, which makes it an interesting musical magma but without musical island, without catchy relief and where the presence of Steve singer is too noticed, this in view of their original sound.

'Be Hard on Yourself' in 3 parts with an intro that hit me, slow evolution and voice in osmosis with the instrumentation, maybe a great album, in short it's fresh and playful while the lyrics reflect the world pandemic noir, a paradox in itself; break with vocal Steve who assures, already a little too much compared to the quality of the musicians too in withdrawal I persist and sign; I think of 'Brave' there which I liked for the concept concept and the progressive instrumental spaces; the 3rd part in line, ie break we imagine a solo and well no it's the voice that is there and the solo is only in the background, too bad! it's beautiful but it could have been so much more beautiful! 'Reprogram the Gene' with Mark's gorgeous 25" intro against a schoolyard backdrop; at 2 minutes a superb solo from Steve (the guitarist!) on the flamboyant 'Lavender' era otherwise it's Steve with the nervous voice, well, I'll listen to the album in instrumental afterwards because I like his voice but it drowns the musical fish well and prevents one from really escaping (is it ambition after all?); the lyrics are beautiful but I keep hearing the vocals like an instrument, so problem, problem, how good was that song from yesteryear! The finale with the instruments very indented, like a Bugatti that you don't dare to roar, good but not transcendent and don't tell me I'm not a fan! 'Only a Kiss' sublime so nothing to add. 'Murder Machines' in mid-tempo, title not chained and Steve and Mark who set the mood, always behind when are they going to let go and put the voice in the background? In short, here everything works well anyway, it's the unstoppable melody and the finally greasy solo, between spleen and distress, the voice in the megaphone does good. 'The Crow and the Nightingale' tribute to the great Cohen for the title bringing me back to 'Brave', intoxicating melody, real guitar solo, highlighted synths, here Steve keeps a solemn voice and the crescendo with the Marillionian guitar, oh yes one had the more marked instrumental I will say that it is sublime everywhere; the Three Choir Noir reinforces the chills and more guitar, put?. It's good ; the solemn string quartet, the title of the album. 'Sierra Leone' in 5 pieces with sounds of the fabulous 'Misplaced' and 'Marbles' for a time, it's latent, evanescent I read and confirm; the piece that moves slowly in prog convolutions and that makes you dream, here is the album that takes height especially with the 3rd part; the title that makes you forget time, that's also what we're looking for with prog, original music, art rock and many don't dare to admit it, advancing in age and having the fear of death, of the pandemic, of fear, here I am slipping, wanting to philosophize with two bullets. 'Blue' with the smell 'Brave' the best of the Hogarth period in my opinion raises the tension and it is in this situation that Hogarth is good without doing too much, by letting his friends do their job, moreover I see Pete stamping with his bass, that's to say; the end with the guitar highlighted, remember that it is still the goldsmith of the group, in short I did well to criticize objectively since they begin to do what I dreamed of them! 'Care' in 4 parts, deaf groove, dark texts on the end, the big departure; electro synth bass, guitar solo like Saga's Crichton that makes your mouth water right in the middle; the chorus with the plaintive guitar refers to the fabulous 'This Strange Engine' with a dreamlike character, the one that makes the hair shiver, since the hair has often deserted the fans; 'An Hour' floydien' latent, so progressive, so all good, good hurry up before it becomes all black, 'Every' prolongs the feeling and Steve gives in my opinion the most beautiful of his languorous voice magnificently accompanied by Steve-guitar whose masterful solo is expected with this climb, solo which arrives just perfect, I'm putting the replay back! Do not forget this piano arpeggio at the start and at the end concluding the 2nd most beautiful title. For those who follow, I omitted the finale which seems to repeat almost all the titles, a mixture of voices sprinkled on the instrumentation and a nervous crescendo, enjoyable as in the time of the Marillions; well the choirs amplify the moment as much as this last real guitar solo, so I counted 4 of them in the whole album, and I won't forget to quote Ian with his roll of boxes which propels this title, which erases a little impression of departure. A white and a bit of alternative 'Murder' to conclude.

Well, we had to give him some time! An album by Marillion, my favorite band, is still not nothing, so far from glorifying it, far from writing it's my top 2022 without any real argument, and without having listened to anything else (at this moment in the middle of year I'm over 100 on the clock), in short, this latest Marillion keeps my original feeling: good but could do better, but how? Less vocals, less Harillion, more instrumentation as in the last 2 river titles where they exult, where they transcend themselves, where they show that they are not a major group for nothing. So yes it's easy to criticize but to tell the truth is my motto and I reiterate my opinion that Marillion made a very good album which could have been perfect with ifs; you'll notice that I didn't name any other bands in my column which shows that they still do Marillion; in short, good listening.

A mature and emotionally powerful COVID-19-centric album from these prog masters.

1. "Be Hard on Yourself" (9:28) (18.25/20): - i. The Tear in the Big Picture - great sound to the opening before large choir enters with a forceful declaration. Hogarth and the gang then enter with nice syncopated music behind Steve's passionate though sensitive vocal. Great weave from all players, none seeking the limelight, all contributing equally to the overall tapestry, while Hogarth delivers one of the best vocals I've ever heard from him. - ii. Lust for Luxury - piano arpeggi and Hogarth's "ooh's" usher in new motif--though the rhythmic foundation is not very different from the previous section. - iii. You Can Learn - gentler, more subdued instrumental soundscape indicates the start of the third section: resolution and lessons. Eventually, the faster paced drum and bass weave is re-established while guitars and keys thicken the walls with their layers of contributions.

2. "Reprogram the Gene" (7:02) Despite a strong vocal performance from Steve Hogarth, this is the weakest song on the album. (12/15): - i. Invincible - a song expressing the band's anger at the government's control of the medical community. As powerful as Steve Hogarth's impassioned lyric and vocal are (the high point of the song) the rest of the song is quite dull (merely serving as a beige carpet for Steve to deliver his rant). - ii. Trouble-Free Life - muted soundscape, softened vocal approach, soon ramps up with electric piano the strongest accompanist of Hogarth's continued vocal. - iii. A Cure for Us? - the Rothery moment to provide input while Hogarth continues singing. "Let's all be friends"? Can we get more trite?

3. "Only a Kiss" (0:39) I don't normally rate songs this short, but this tiny little ditty is gorgeous. (5/5)

4. "Murder Machines" (4:21) a very moving video of a very good song about the tragic vulnerability and helplessness we felt with COVID-19. (8.75/10)

5. "The Crow and the Nightingale" (6:35) A very pleasant, rich, engaging sonic landscape over which Steve delivers yet another remarkably powerful vocal performance especially the final three minutes when he is aided and enhanced by a wonderful choir background vocalists. Great arrangement!) The music behind Steve Rothery's guitar solo in the sixth minute brings me to tears--and this is followed by a great ending. A top three song for me and one of my favorite songs of 2022. (9.5/10)

6. "Sierra Leone" (10:54) Several of the lines repeated over and over within the lyrics get a bit old (and feel simple or cliché) (e.g. "I won't sell this diamond.") (18.25/20): - i. Chance in a Million - Hogarth and piano enter using the same melody line. The band then fills in a gentle four-part Torch song background. - ii. The White Sand - piano chord play with meandering lead guitar and slow walk drum and bass pace. Very pretty section little section. - iii. The Diamond - bursts forth into classic Marillion fullness with piano arpeggi and Steve Rothery's magic on the fretboard, top to bottom. Great passion from Hogarth in the "walking free in Freetown" delivery. - iv. The Blue Warm Air - more ethereal gentle music around Hogarth's "shimmering in around my head" and "sparkle in the blue warm air" lyric. Beautiful. Loses a little of its magic when the band bursts into dynamic fullness again. - v. More Than a Treasure - recapitulation of full part of "Blue Warm Air" with multi-voice singing and Rothery jumping more into the fore.

7. "Care" (15:20) (26/30): - i. Maintenance Drugs - funky bass and driving drum pattern support Hogarth's plea for taking care of one's self. Sounds a bit too familiar. (8.25/10) - ii. An Hour Before It's Dark - a little SYLVAN-like musically, even as Hogarth's repeated title phrase turns more relaxed and subdued. Still, very pretty section--not unlike some KATE BUSH motifs.(4.75/5) - iii. Every Cell - a nice little set up for a searing Rothery solo. The drums could use a little more imagination (and variation). (4.5/5) - iv. Angels on Earth - synth bank chords usher in a section that sounds very much like an outro/finale. I like the lyric but it does go on a bit long. (8.5/10)

Total Time 54:19

One of the problems I have with this album is the relatively undistinguishable shifts between motifs in the longer, multi-part suites: the flow is too straighforward with very little shifting or deviation from the main/established themes.

B+/4.5 stars; an excellent addition to any prog lover's music collection

An Hour Before It's Dark takes the song suite-based approach of their previous album, FEAR, and shifts it from that album's pastoral contemplation of an England bent on self-destruction to a contemplation of a world on the verge of darkness, but sensing some hope to come after the long night.

There's soulfulness, there's soaring moments harkening back to some of their early days (Steve Rothery's guitar solo on The Crow and the Nightingale, for example), there's sorrow, there's joy, and underlying it all it's Marillion with the quiet confidence of a band in a late-career renaissance. Why, listen to Maintenance Drugs and there's even a pinch of funk. Some of it sounds further from Marillion than they've ever gone before, some of it sounds like quintessential Marillion, but all of it sounds like it belongs together. That, folks, is a pretty serious achievement.

This is the 20th studio album from Prog mainstays Marillion, but their first since F.E.A.R. in 2016. I have to admit that although I was a fan of the early days of Marillion (with vocalist Fish) in the '80's, I haven't really followed the band through the Steve Hogarth years, so was not very familiar with what the band has done in recent years. This album pushes forward presenting commentary on all the pressing issues of the day with an immersive sound and dark and moody atmosphere. But this album also offers a bit more hope than some of their previous ones, with very emotional and stirring lyrics and music. The album features four suites of songs covering 4 major themes, as well as a couple of standalone songs. Marillion fills the musical spaces with their own version of a wall of sound, as keyboards and synths fill the background creating a dark, flowing, moody atmosphere throughout. The music often reminds me of a somewhat gloomier version of those '80's synth-pop bands like Tears for Fear and Talk Talk. At other times, there are definite similarities to U2, both in the music and emotional heft of the lyrics. There are certainly some powerful sections here and an immersive sound and feel throughout. One of the problems I have with it, however, is that it is a bit too much of that same brooding atmosphere throughout the entire album. And whether they are being somber and sad, rocking out, or being uplifted with a heavenly choir, the tempo barely changes, staying at the same slow mid-tempo pace. There is no question that these guys are very good at what they do, and they create lovely immersive soundscapes and emotionally charged moods. But for me, most of the songs go on a bit too long and without enough differences between the songs. However, the final epic suite, 'Care', is magnificent, and works beautifully, raising the entire album several notches. It starts with a funky beat and vibe reminiscent of Talking Heads and then proceeds through several different sections of ebbs and flows leading up to a magnificent soaring emotional finale. By far the highlight of the album, and possibly a highlight of the band's career, as this one works on all levels. The rest of the album also has some stellar moments, but is just not quite my cup of tea overall. Still, a very good album, Best tracks: 'Care', 'Be Hard on Yourself'. Weaker tracks: 'Reprogram the Gene', 'Murder Machines'. Rating: 3.5

Well, what can I say about their latest album. As a die hard fan it's quite a struggle for me. I want to like this album but I can't get into it. I miss the sparkle, creativity and pure emotion which can be found on their previous album F.E.A.R., a highlight for me. I've been to the concert in Haarlem 2018 (Philharmonie) where they played the whole album live + some of their best oldies, a very memorable evening. 40 years after Script they are still active as a band and that's quite an achievement these days. But this is still a mediocre album and the music ripples on. The last song 'Care' has it's moments but it can't save the album. You can do better than this Marillion, take your time and make something great, worthwile and beautiful. I will wait with patience for the next release ..... *** 3 stars

As I was starting to delve into the world of progressive rock, my dad recommended me to listen to an album called 'Misplaced Childhood' by some band named Marillion. Reluctantly, I listened to the album. From the first note of "Pseudo Silk Kimono," I was hooked and became a Marillion fan in 2018. That means that 'An Hour Before It's Dark' was the first Marillion album I listened to on the day of release. Not only that, but I pre-ordered the album. I received a special edition, signed digipack. This included the CD, a booklet full of magnificent artwork, and a making of DVD. But my favorite thing about pre-ordering the album was that when it arrived, I searched through all the names of the people who pre-ordered the album (because Marillion are cool like that) and contemplated mine once I spotted it. Even though it was minuscule, I felt like I contributed to the album in some way and was "credited." That was a very special moment for me.

'An Hour Before It's Dark' is the 20th studio album from Marillion, released on 4 March 2022. The band have expressed before that they didn't want 'An Hour Before It's Dark' to be another COVID record, which would date the album. However, Steve Hogarth has also said that it was nearly impossible for the affects of the pandemic to not creep into his lyrics, given its relevance to his personal life and the world as a whole.

'An Hour Before It's Dark' contains seven tracks, four of which are suites. The first suite and opening track, "Be Hard On Yourself," consists of three sections: i. The Tear in the Big Picture, ii. Lust for Luxury, and iii. You Can Learn. The second suite, "Reprogram the Gene," also consists of three sections: i. Invincible, ii. Trouble-Free Life, and iii. A Cure for Us? The penultimate track, "Sierra Leone," consists of five sections: i. Chance in a Million, ii. The White Sand, iii. The Diamond, iv. The Blue Warm Air, and v. More Than a Treasure. The closing track, "Care," consists of four sections: i. Maintenance Drugs, ii. An Hour Before It's Dark, iii. Every Cell, and iv. Angels on Earth.

Before I heard 'An Hour Before It's Dark,' I wasn't sure what to expect. The previous record, 'FEAR,' was a massive disappointment for me and is probably my least favorite Marillion record. Nevertheless, 'FEAR' was released six years before the release of 'An Hour Before It's Dark.' Not only has a decent amount of time passed, but a lot has happened within those six years. The tracklist of this album reflects that of 'FEAR' due to the multipart suite format, which was worrisome. However, all of my doubts dissipated the moment I heard the opening track, "Be Hard On Yourself."

Finally, we're back into the heaviness and grandiosity that was last seen on 'Sounds That Can't Be Made.' The urgency of the lyrics are reflected in the accompaniment well. "Be Hard On Yourself" is more cohesive than any of the suites from 'FEAR.' The following track, "Reprogram the Gene," is my least favorite song on 'An Hour Before It's Dark." In my opinion, the music doesn't flow well. This is especially apparent when hearing the abrupt shift between "Invincible" and "Trouble-Free Life." I also dislike the constant references to Greta Thunberg, or Greta "T," which take me out of the music slightly.

"Only a Kiss" is a 40-second instrumental prelude to "Murder Machines." I like the espionage atmosphere created in this brief interlude which bleeds seamlessly into "Murder Machines." This is a beautifully crafted rock song with a melancholic undertone. The Choir Noir and the In Praise of Folly String Quartet are featured on the ethereal "The Crow and the Nightingale." This song sounds enormous with the vast instrumentation, almost like it could be used in a soundtrack. Steve Rothery's guitar solo on "The Crow and the Nightingale" is one of his absolute best.

"Sierra Leone" is an extended piece that's driven by Mark Kelly's piano and acts as a foil to the climactic track that preceded it. Ten minutes might be a bit long for a mellow piece such as this, but I do enjoy parts of it. The 15-minute closing track, "Care," is similar to "The Leavers" in the sense that everything leading up to the final section (in this case, "Angels on Earth") is somewhat forgettable, but the final section is excellent.

In conclusion, Marillion prove that they still have a lot of creativity left in them with the release of 'An Hour Before It's Dark.' Despite the heavy subject matter that's explored on this album, the music is surprisingly upbeat. For a band that has been around as long as Marillion, I am truly astonished with how they can continue to release wonderful music that moves me. I am also pleased to hear that Marillion didn't continue going down the 'FEAR' path and produced something that was different, while still containing elements of past works. There are some minor criticisms I have that are found throughout the album, such as lack of cohesiveness in most of the suites. The biased side of me wants to rate 'An Hour Before It's Dark' five stars. However, I must give this album four stars, for reasons previously mentioned.