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SOUNDS THAT CAN'T BE MADE

Marillion

Neo-Prog


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Marillion Sounds That Can't Be Made album cover
3.75 | 380 ratings | 15 reviews | 28% 5 stars

Excellent addition to any
prog rock music collection


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Studio Album, released in 2012

Songs / Tracks Listing

1. Gaza (17:31)
2. Sounds That Can't Be Made (7:11)
3. Pour My Love (5:59)
4. Power (6:07)
5. Montreal (14:00)
6. Invisible Ink (5:44)
7. Lucky Man (6:54)
8. The Sky Above The Rain (10:34)

Total time 64:00

Lyrics

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Music tabs (tablatures)

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Line-up / Musicians

- Steve (h) Hogarth / singer, backing vocals, keys, percussion
- Mark Kelly / keyboards
- Pete Trewavas / bass guitar, backing vocals
- Steve Rothery / lead & rhythm guitars
- Ian Mosley / drums


Releases information

produced, recorded & mixed by Marillion & Michael Hunter
release september 2012
e.a.r. music

Thanks to lugh for the addition
and to Rune2000 for the last updates
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MARILLION Sounds That Can't Be Made ratings distribution


3.75
(380 ratings)
Essential: a masterpiece of progressive rock music(28%)
28%
Excellent addition to any prog rock music collection(36%)
36%
Good, but non-essential (24%)
24%
Collectors/fans only (9%)
9%
Poor. Only for completionists (3%)
3%

MARILLION Sounds That Can't Be Made reviews


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Collaborators/Experts Reviews

Review by Warthur
PROG REVIEWER
5 stars Living in the UK isn't without its advantages; it means, for instance, that when the pre-orders of Sounds That Can't Be Made got mailed out the other day my copy arrived with great speed. I've spent the whole weekend giving it an in-depth listen and can happily report that this is the top-flight followup to Marbles with Somewhere Else and Happiness Is the Road weren't (and, to be fair, I don't think they were intended to be).

Of course, you could guess from a look at the track times that Marillion are back in one of their proggier moods this time around, with three songs at over 10 minutes (and the first song on the album a 17 minute monster!). These three songs are effectively the tentpoles that hold the album up, being long proggy pieces in the tradition of The Invisible Man or Neverland from Marbles. It's ironic, actually, that Marillion have spent so much energy trying to distance themselves from tracks like Grendel when in fact in the H-era they've produced more long-form tracks than they ever did with Fish - though all of these songs are miles away from the monsters, magic, and mild Genesis borrowing of that track.

Album opener Gaza might well prove to be one of the most controversial tracks of Marillion's career - not for its musical content, but for its lyrics and themes. Directly tackling the conflicts between Israel and the Palestinians is a profoundly difficult tightrope to walk, but to Steve Hogarth's credit his lyrics are unusually nuanced when it comes to rock songs about Gaza. It helps, I think that he's spent time talking to both Palestinians and Israelis (as he is careful to state in the album booklet) about the situation, and that though the lyrics show how a character born into a hopeless situation can be radicalised and turn to violence, at the same time it's fairly clear that H considers violent action utterly counter-productive at best, and directly contributing to the continuation and escalation of the cycle at worst ("For every hot-head stone ten come back").

As the song says, the situation documented has no easy answers ("nothing is ever simple"), and H is careful to note that there are "grieving mothers on both sides of the wire", and the main thrust of the song seems to be a lament that there have been so many generations of children born into and growing up in this conflict. I think on the whole these are sentiments that only the most hardline partisans in the conflict could disagree with, but I'm sure there'll be plenty of people from all sorts of backgrounds who find the song distasteful - some will say it's too sympathetic to the Palestinians, some will say it's not condemnatory enough of the Israelis, and so on. At the same time, I think Marillion were right to tackle the subject matter, since in many respects the song is a thematic descendant of Forgotten Sons from Script For a Jester's Tear - both taking a "peace first, ask questions later" approach to the conflicts they centre around.

Some may question the booklet's endorsement of the Hoping Foundation, which is an organisation whose declared aim is to fund projects providing aid to Palestinian children; it seems to be something of a prog cause celebre, with David Gilmour and Roger Waters having got together in 2010 to support it, but on the other hand I get very mixed messages about it when I try to research its position; I suppose this just illustrates how difficult the subject is.

The rest of the album is somewhat less heavy going. The middle tentpole, Montreal, is a 14 minute tribute to the city written as an account of one of the band's visits there on tour. Perhaps it's a little self-indulgent - a gushy blog post in the form of a song - but the general theme of discovering a city which is so welcoming and so supportive of you that it feels like a home away from home means that it is at least a bit more thematically deep than "thank you Montreal, we love our Canadian Marillion weekends". Closing number The Sky Above the Rain is an exploration of relationship difficulties and lack of communication, where the two protagonists are a woman who's stopped loving her partner but doesn't want to talk about it and the man in question, who's desperate to communicate about it and despises living a lie. All three of the tentpole songs are tour de forces as far as the band's performance goes, with Mark Kelly's keyboard soundscapes and Steve Rothery's guitar solos as always being a particular treat.

As for the shorter songs, the most notable one is probably Pour My Love, which features lyrics from John Helmer, who helped H out with the lyrics for the albums from Seasons' End to Marillion.com and makes a welcome return here to provide the words for this rather soulful song - I don't think it's quite the "Marillion meets Prince" song that it's been described as but it's certainly creeping in that direction. The band don't seem to have been tempted to include any songs which don't support the generally fairly progressive tone of the album, with even lead single Power having more depth than you might think at first listen and some occasionally rather Steve Hackett-sounding guitar from Steve Rothery (who offers his own take on Hackett's distinctive "weeping guitar" sound at points).

In short, if you're a fan of H-era Marillion and consider Marbles to be one of their better albums, you're highly likely to see this one as a return to form. I'll be seeing them live next week and apparently they intend to use Gaza as the opening number for their UK tour: I can't wait.

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Send comments to Warthur (BETA) | Report this review (#817364) | Review Permalink
Posted Sunday, September 09, 2012

Review by lazland
PROG REVIEWER
4 stars Sounds That Can't Be Made is the seventeenth studio album by the band who, when they started their long road in the 1980's, were once considered as the leading lights of a new wave of prog, and who, latterly, have created a cottage industry and business model (based around the web and a ridiculously loyal group of fans) that is the envy of many artists.

My first ever review for this site was the band's last studio album of original material, Happiness Is the Road. In a rush of utter fandom, I awarded it the maximum five stars. Now, with over 200 reviews to my name, I can look back and see that this was mistaken. HITR is an excellent album, but it is not a masterpiece when one judges it by the criteria we use on this site, certainly when you compare it to Brave & Marbles, the two albums that the Hogarth era has produced that could genuinely be given that description.

So, where are this great band, who I unashamedly call my favourite band, now?

In this review, I will go a little back to front, as it were, and commence with the final track, The Sky above the Rain. One of three tracks that clock in in excess of ten minutes (the shortest of the eight tracks is 5:47 minutes long), it is built around a very gentle Mark Kelly piano loop. What follows is a piece of music that demonstrates the power of music, and, yes, progressive rock music, to move one, and to reduce otherwise sober people, to tears. As with tracks such as Invisible Man, Sky.. Is a track in which Hogarth bears his soul. The story, and what a story, revolves around a loving couple who still adore each other, who have clearly been through the full and complete journey that most couples make in life. Except, she, who still loves him, doesn't want him physically. He still wants her physically, still loves her, and so puts up with the situation, because "what else can he do?" He yearns for the clear blue sky, above the cloud that dominates his present life, the blue sky that signifies happiness and a life that is complete.

As with all the finest Hogarth lyrics, his four colleagues rise to the occasion with aplomb. This is a performance that is wrought with feeling, from the aforementioned Kelly loop, to Rothery, who plays with such feeling that it is impossible not to be carried away, to a rhythm section that carries all with it. When the song descends into the quiet of Kelly's piano, you pause for breath. And then, as a complete surprise, the track bursts into its outré, a symphonic piece of pure majestic sound that has the subject yearning for his blue sky, his happiness, his soul, and his life.

I regard this track as the finest this great band have ever released, it is that good. It is a majestic piece of music. It is so utterly, and achingly, beautiful that you really do wonder at the genius that produced it.

So, is the rest a let-down in comparison? Not a bit of it. The opener, Gaza, is, of course, the one that has attracted the most "debate", and the band are on record for their concern that it might alienate more than a few people.

Political comment is not, of course, a new thing for the band. Fish positively oozed it. I always regarded Hogarth, though, as a little more subtle ? witness the incredible Easter from his first album with the band. And so it is with Gaza. I have, for many years, despaired at former "comrades" in the Labour Movement with their blind adherence to the "Palestinian Good, Israeli Bad" mantra, never realising the utter irony of left wing activists wishing to destroy a Jewish state.

Hogarth avoids this completely, for his lyrics are a humanitarian cry, written from the child's viewpoint of growing up in utter poverty, with the reality of death all around, whilst also making an intelligent nod to the fact that every stupid and pointless weapon thrown will result in tens more sent back. When he cries that "To live like this, it just ain't right", he is spot on the mark, because it isn't right. It is not, however, as simple as that politically, and that is where Hogarth gets it spot on, because a child simply doesn't understand the politics, he or she just knows that there is no hope, and cries out for a better life. Musically, it is a seventeen plus minute prog epic. The Rothery solo thirteen minutes in is to die for, whilst I don't think that Ian Mosley has ever been so dramatic and forceful on his drum kit. The whole piece cries out with sound, and the very knowing and intricate Middle Eastern sounds incorporated are very welcome and represent an intelligent move forward for this band.

The title track follows, and is, to me, simply the finest moment that Mark Kelly has ever had with this band. It is said, by the great man himself, that he will spend a whole day tinkering with one tiny sound in order to get that note right. Well, thank God for pedantry, because this whole track is built around his keyboards, and they have never sounded so lush. Hogarth himself gives a purposeful performance, whilst the remainder of the band collaborate to provide a massive backdrop.

Pour My Love is the one track where I pause a little to think. It doesn't seem to fit in well with all else around it. It marks the lyrical return of John Helmer (it is an old lyric), and has an almost funky feel to it. Enjoyable, but not classic.

Power is one of those tracks that the Hogarth era has produced so well. It is well in the vein of commercial tracks of the past, such as You're Gone, and was the first track released to the world via the band's website. Hugely enjoyable, and, as with a lot of similar tracks, comes out better in the live experience.

Montreal is basically a blog of the Marillion Weekend (a fan event featuring a number of live sets over a weekend, and where Marillion nuts can immerse themselves in their beloved obsession) set to music, and what stunning music it is. A definite collective effort, it provides us with a loving pastiche of a city, and set of people (fans and others) to whom the band clearly love and appreciate, whilst also giving us an insight into the wrench of leaving loved ones behind. In its feel, it is perhaps the closest track on the album to Happiness Is the Road, which is no bad thing at all. Kelly again shines, Rothery's touches are loving, Mosley thumps out, whilst Trewavas proves once again just why he is the finest bass player in the game at present, utilising his instrument as a lead. At fourteen minutes, this is another prog epic from a band who were supposed to have left such things behind when a certain Scot walked into the wilderness. That was always nonsense, and this album proves it so.

Invisible Ink is a deceptively simple track, which begins with a Hogarth monologue underwritten by some extremely good keyboard work, and is, again, a track which would have sat comfortably on Happiness Is the Road. When, two minutes in, the track bursts into life, it becomes one of those infuriatingly catchy foot-tapping numbers that the band has always done so well.

Lucky Man just about says it all for me. This is a very personal account by lyricist and band, with a musical backdrop instantly recognisable as Marillion, of just how fortunate a position they find themselves in. It is the story, set to music, of how they can continue to make creative music free from the shackles of record company interference, how they are fortunate enough to have a fearsomely loyal set of fans, how they have financial stability, and personal joy. In fact, this track is just about the perfect summary of the band in 2012, and I imagine it will also be a good hit live (it was not on the setlist I saw earlier this month). The riffs themselves are uplifting, and, all in all, this is the sort of track that would cheer up the most miserable day.

So, how to rate such an album? Well, it is easily their best since the immense genius that was Marbles. It is an extremely consistent album, one that combines some exceptional pieces of music with some enjoyable pieces, and manages to fit them together into one seamless whole, in much the same way as both Afraid of Sunlight and the criminally undervalued Radiation did.

This album is not a work of genius in the same way as Brave & Marbles were. Having said that, for a band to even produce one such masterpiece, let alone two, is a rare thing. What this album is, though, believe me, is the sound of a band still forging ahead creatively and emotionally after well over 20 years as this particular collective. It is the sound of a band not afraid to court controversy, not afraid to open their hearts (both musically & lyrically), and still, very proudly, at the heart of Britain and the world's progressive rock movement. Those, in my opinion, are reasons enough for us to count our blessings.

Four stars for this, a truly excellent piece of work, and one that I cannot recommend highly enough, and 4.5 stars if we had such a rating on this site.

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Send comments to lazland (BETA) | Report this review (#827966) | Review Permalink
Posted Tuesday, September 25, 2012

Review by ProgShine
COLLABORATOR Errors & Omissions and Crossover Team
2 stars Bands, artists and 'owners' in general tend to criticize the illegal downloads for low numbers on sells and they blame that same thing for bands being 'shrinked' at some level.

In fact, what make albums sell less is the lack of quality, now we have options, we can download something, listen, and then say if our money will be well spent or not in that particular record.

That's why some bands, specially the big ones, never present more than one song when they're on studio recording a new album, like MARILLION did with 'Power' few months ago. And that's why many many bands, like MARILLION again, do those 'pre-order' kind of thing with 'gifts' and want us to believe that will help to finance the album, even when the band owns the studio where it were recorded...

I was listening and listening and wondering where the great music lies in this album that a bunch of people claim to have. And the text I started this text is explained now, cause if I could listen this album before buy it, I would never buy. And many people would do the same, and will do the same in the next months. And that's the exact kind of thing that they want to hide with the political right speech most of the time. I was avoiding to listen it for some time and now I know why, in the back of my head I knew it wasn't worth of attention. Specially after that lame excuse to an album that Not The Weapon But The Hand (2012) is.

Progressive Rock today don't have any guts anymore, there's no sound anymore, just a bunch of pop produced material wrapped on pseudo Prog elements. Exactly like on Sounds That Can't Be Made (2012). Poor in songwritting, poor in tones, specially poor in vocals, poor in lyrics and the worst, the album fails in make you feel interested in what they're playing. Those things are made very clear on 'Gaza', 'Pour My Love' and 'Montreal'. At least 'Invisible Ink' and 'The Sky Above The Rain' are not so bad.

Maybe STEVEN WILSON helped them to write and produce the album, this would explain a lot why is so bad...

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Send comments to ProgShine (BETA) | Report this review (#830490) | Review Permalink
Posted Saturday, September 29, 2012

Review by Tristan Mulders
PROG REVIEWER
3 stars New Marillion album out. This used to be one of the musical highlights of my year, but not quite as much the last couple of years since "Happiness Is The Road." Although I'm feeling far more positive about this new release than about "Happiness is the Road" and the uninspired "More Is Apparently The Superior," I can't say I'm that much impressed with their latest album... In fact, I dare to say that, had I not been a fan for so many years before, and someone would have recommended it to me, I, amid the bulk of more refreshing and interesting sounding artists I get recommended lately, probably would harvest a song or 2-3 and discard the rest by now...

Okay, I realize this sounds a bit too harsh, for I know their music always takes some time to grow on me, and the music does sound well-produced and well-written, but it does not 'do' much for me so far, unlike when I first heard, e.g. "Marbles," or "Somewhere Else" (at a press listening party in Fame, Amsterdam at that).

'Gaza' feels like a melting pot of musical ideas, but it is far less fragmented than, and yes I'll blaspheme here for a little, 'This Strange Engine,' which I always found rather segmented. On 'Gaza,' at least, I felt that the various segments were quite exciting, as is the lyrical content about an infant's view on the Palestine conflict. The whole piece feels quite passionate and energetic, which I quite missed in their music since "Somewhere Else." Especially the "It just ain't right" bit felt like a-class, properly-developed Marillion, but on a whole the song is just a melting pot of too many ideas for one listen -and incidentally that thought popped into my head a bit too frequently while listening...

"Montreal" starts to become interesting far too late, about halfway through, and is not remotely up to par to their other longer suites, which have far more going for them. It's such a pity that this song also suffers from clear cuts in between its segments, but unlike 'Gaza,' the various sections are not as interesting. Plus after spending fourteen minutes listening to a diary-like story that already does not quite hit home and feels a bit dreary for the first 5 minutes or so, it is particularly unfair to cut the song off with an uninspired fade-out, and an extremely brief one at that!

What DID excite me a lot were the return of some incredible guitar solos, and Pete's bass lines sound phenomenal if you listen to the album on headphones. I also loved the use of more electronics on quite a bit of the music, however, Mark Kelly contrasted this with the same type of Casio presets (most noticeably on 'Montreal') that he's been using as part of their music since the 80s. Perhaps 30 years later it might seem the proper time to let those go? Yes, that's what some might call progression? And, for the love of God, will someone please break into their studio and destroy the effect pedals that are responsible for those horrific 'Asylum Satellite One' special FX that Rothery seems to use A LOT these days. Completely ruins what sounds like could be a great solo at the end of the album... (And incidentally, the guitar halfway through the last song is remarkably reminiscent of Snow Patrol's classic pop song 'Run,' though I don't dislike it here).

The result was that, in retrospect, the only song I felt was a proper Marillion classic -whether or not this sense of familiarity I felt with this song is a good sign? I know I still like it a lot!- is "Power". Great vocals, filled with a nice touch of drama at times, a good build-up, great bridge and closing section, and nice guitars. The title track sounds better upon repeated listening, but that piece of pop music that follows it sounds so run-down-the-mill that I fail to see why it is included among the other more mature-sounding pieces of music. These men can do so much better. 'Pour My Love' sounds good, but it is so trivial I fail to see the point. 'Lucky Man' is similarly un-progressive, but at least it is a good quality rock anthem-like song.

Overall, I feel like this is either one of those cases where there's much to be discovered on "Sounds That Can't Be Made" by repeated listening, or it really is simply an example of too many ideas cramped into an album that, at over 70 minutes long, already feels a bit stretched out. So far, and the album has been on repeat, I'm rooting for the first of these two things to happen. And, last, but not least, the music presented here stirred an appetite to write a review after such a long time. That has to count for something, I'd say.

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Send comments to Tristan Mulders (BETA) | Report this review (#833605) | Review Permalink
Posted Friday, October 05, 2012

Review by kev rowland
SPECIAL COLLABORATOR Crossover Team
3 stars There are certain bands where fans say that they prefer this era of the band or that, and while I can honestly say that I enjoy all periods of Genesis the same cannot be said for Spock's Beard or as in this case, Marillion. I still have the single 'Market Square Heroes' (and the next four or five releases) on 12" and lapped up everything the band was doing, and when 'Misplaced Childhood' came out I played it again, and again, and again. But then Fish left. I eagerly made my way to Wembley Arena to see them in concert on their first tour with 'H', but after Little Angels had proved themselves to be the better live band I was devastated. What had happened to the group I loved so much?

Over the years I have seen them in concert again, and have also purchased all of their studio albums, hoping that one day I would be able to yet again feel how I did about this band back in the Eighties. The line-up has stayed the same all those years, Pete Trewavas has done some great stuff with Transatlantic, and I have always rated Kelly and Rothery, so where are we in 2012? Well, they kick things off with the longest song on the album, "Gaza" which is more than seventeen minutes long and is one of three that are more than ten. Lyrically this is a challenging area as well, so it seemed like were off to a good start. There is some good guitar, and symphonic keyboards, but my attention soon drifted and before I knew it the album was over and I couldn't remember anything about it.

So, I put it on again and found that when I really listened there is a lot going on, but again I was easily distracted and realised that the biggest problem was that I was getting bored. But if you read the comments on the web many people are saying that this is their best album for years, but to my ears how much is that actually saying? They are very good at what they do, but it's not what I really want to listen to. So three stars because it isn't poor enough to get two, but I doubt if I will be coming back to it in a hurry.

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Send comments to kev rowland (BETA) | Report this review (#835650) | Review Permalink
Posted Tuesday, October 09, 2012

Review by AtomicCrimsonRush
SPECIAL COLLABORATOR Symphonic Team
3 stars Marillion's latest release "Sounds That Can't Be Made" is a relaxing well performed experience that has some very gentle melancholy songs and at times the inspired excellence that one has come to expect of the band, though it is not consistent. Over the years the changes in the band's lineup and sound are remarkable. The band have really settled into a serene style with patient stillness in the music that builds into majestic sweeping arrangements.

As usual there is the stirring voice of Steve Hogarth and the wonderful keyboard prowess of Mark Kelly. Bassist extraordinaire Pete Trewavas is always integral to the sound and especially the lead work of Steve Rothery, backed by massive percussive rhythms by Ian Mosley.

The album sails along nicely with songs such as epic length Gaza (17:31), and the incredibly emotional Montreal (14:00). These are perhaps more progressive in structure than the more poppier Invisible Ink (5:44) or Lucky Man (6:54). Nothing really jumps out to me as a masterpiece track though, as it all feels very similar in style. The closer The Sky Above The Rain (10:34) is certainly another high point of the album musically, a love song with nice piano and soaring guitars, especially the ending, but again I did not feel anything on the album measured up to some of the genius work of the past. The chorus's feel like power ballads, the instrumental breaks are not as dextrous as they could be, there is not enough innovation and I can hardly tell one song from the next; it all just blends into a dreamy 70 minutes, great music to sleep to but not that enjoyable to listen to on repeat visits.

It is a good album, tailor made for those who love Neo Prog, but it was all a bit too relaxed for my liking and none of the melodies jumped out. It perhaps will not disappoint Marillion fans, but I was expecting something along the lines of the masterpieces of The Flower Kings' "Banks of Eden" or other albums of late that have blown me away. Marillion have been around long enough to produce something special, and they have demonstrated this potential, but the songs on this album just float along on one relaxing style and the musicianship is fairly standard for a keyboard dominated band. Try it before you buy it, is my advice as this is a standard Neo prog album; good but not essential listening.

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Send comments to AtomicCrimsonRush (BETA) | Report this review (#848113) | Review Permalink
Posted Wednesday, October 31, 2012

Review by J-Man
PROG REVIEWER
5 stars As 2012 is entering into its final stretch, I can confidently say that Marillion have provided me with some of this year's finest memories. I had the pleasure of seeing them perform an inspired and purely magical concert in Philadelphia this June, I've rediscovered some of the band's classic albums and gained an entire new appreciation for them, and to top it all off, they've also released one of their strongest albums in recent memory with Sounds That Can't Be Made. From my perspective, this has been a great year for Marillion (without even mentioning Steve Hogarth's killer collaboration album with Richard Barbieri released earlier in 2012), and anybody who's been 'on the fence' about the band's recent material owes it to themselves to check out Sounds That Can't Be Made. In what I can only call the band's strongest effort since the 1994 masterpiece that was Brave, Sounds That Can't Be Made is a breath of fresh air in the modern progressive rock scene that offers the introspective sound that Marillion has become known for, as well as a few more progressive twists than we may have come to expect from the band recently.

Although Marillion have generally distanced themselves from any form of 'traditional' neo-prog in recent years, the band's fragile and emotional style of rock music has appealed to me greatly on albums like Happiness Is The Road; that album may have been met with fairly mixed criticisms, but the meticulous attention to atmosphere grew on me to the point where I consider it a truly great observation. Sounds That Can't Be Made focuses on the same sort of subtle beauty and intense ambiance as its predecessor, while incorporating more progressive twists and bombastic atmospheres. This is still an extremely mellow listen compared to most prog bands on the scene today, but the exceptional songwriting and brilliant arrangement makes it no less satisfying. Sounds That Can't Be Made may take a few listens to 'click', but it's the sort of album that leaves a huge impression when given the time it deserves - I still find myself discovering new subtleties with every listen, and the emotional impact of some of these tunes rivals the best material that Marillion has ever produced.

My first experience with Sounds That Can't Be Made was through "Power", the single released some time before the album's actual release date. The thick bassline and powerful chorus immediately grabbed my attention, and by the time I heard the entire album, I was actually really impressed. Tasty musicianship and professional compositions are to be expected from Marillion at this point, but this album had an extra edge that really set it apart from the band's other material. The epic songwriting and thought-provoking lyrics in "Gaza" shows Marillion taking their art to a new plateau, "Montreal" is one of my favorite songs in the band's entire discography, and "The Sky Above The Rain" is a perfect example of a 'goosebump song' - whether I want it to or not, Steve Rothery's soulful leads and Hogarth's mesmerizing vocal performance never fail to send chills up my spine. This trio of epics accurately represents Sounds That Can't Be Made's highlights, and although "Lucky Man" doesn't do a whole lot for me, the entire seventy-four minute running time is captivating and powerful.

Sounds That Can't Be Made may not have an ambitious concept like Brave does or the same classic potential that the Fish-era recordings have, but the quality of the release alone is enough to have it regarded as a high point in Marillion's career. A remarkably strong effort indeed, Sounds That Can't Be Made has been on my rotation for dozens of spins now, and it still packs a massive punch every time I take it out for a listen. I think Marillion fans will be delighted to hear this one, and folks who haven't been too enthusiastic about other recent albums may also want to check it out - this is one of the strongest albums that these British legends have ever released for sure! While it would probably take an album crafted by some supernatural force to dethrone Brave and Clutching at Straws (for me, at least), Sounds That Can't Be Made is the next closest thing. In a few short words, Sounds That Can't Be Made is an essential landmark in Marillion's discography - and all I have left to say is "well done, gentlemen!".

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Send comments to J-Man (BETA) | Report this review (#851647) | Review Permalink
Posted Tuesday, November 06, 2012

Latest members reviews

4 stars After suffering through initial listens of both TAAB2 and Homo Erraticus, I was soothed by playing this emotive and passionate new offering from Marillion. I, for one, was never a fan of the 80's neo-prog (read neo-Genesis) movement and always found the H era band to be a breath of fresh air. Wh ... (read more)

Report this review (#1173204) | Posted by SteveG | Friday, May 09, 2014 | Review Permanlink

4 stars Sounds That Can't Be Made is Marillion's first album of original material since the double effort that was 2008's Happiness Is The Road Volumes 1 & 2. It seems the four year break did them good, because they returned with an album that is much more focused; Sounds That Can't Be Made is a single col ... (read more)

Report this review (#978376) | Posted by FunkyM | Saturday, June 15, 2013 | Review Permanlink

4 stars Sounds That Can't Be Made is Marillion's 17th studio album. It's a very strong album considering that the band is so far into their career, however, the band has already proved that they can keep the quality of their newer albums up with Marbles. But that was 8 years ago, and Sounds That Can't Be Ma ... (read more)

Report this review (#887491) | Posted by zeqexes | Friday, January 04, 2013 | Review Permanlink

5 stars All the albums after MARBLES I considered to be quite disappointing, so I didn't expect too much from the new album. After several listenings, however, I think that the album is quite an inmprovement to the former CDs. Gaza is musically interesting, but in my opinion it lacks coherence. There are ma ... (read more)

Report this review (#843346) | Posted by sean_y | Tuesday, October 23, 2012 | Review Permanlink

3 stars Steve Hogarth and company have managed an interesting trick on Sounds That Can't Be Made, a record that's both maudlin ("Pour My Love" and "Lucky Man" being the most obvious examples) and stridently political (opener, and longest track, "Gaza"). Meaning, on the whole, Sounds doesn't quite gel. "Gaza ... (read more)

Report this review (#834286) | Posted by progressouno | Sunday, October 07, 2012 | Review Permanlink

3 stars The troubled one. I've been looking forward to this album so much that, after all the positive reactions that it already received on the net, I'm rather troubled about it than really happy - now that I finally got it. On 'Sounds that can't be made', Marillion start to paint with thicker colo ... (read more)

Report this review (#826037) | Posted by rupert | Saturday, September 22, 2012 | Review Permanlink

4 stars Four listens so far and this album has the feel of something special. The best I can discern is this is a concept album based on human emotions and Hogarth is a master of eliciting them from us with his lyrics and Rothery is a master of eliciting them from us with his guitar. I don't usuall ... (read more)

Report this review (#825046) | Posted by Byrneie | Thursday, September 20, 2012 | Review Permanlink

5 stars Marillion are one of those bands that have continued quietly to produce astounding music for the last couple of decades without the need to try to bother the charts with huge sales or satisfy record company execs with the conbtent of their records. The result is that they have often produced ama ... (read more)

Report this review (#820608) | Posted by Headlong | Friday, September 14, 2012 | Review Permanlink

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