AN HOUR BEFORE IT'S DARK

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.

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.

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.