MARILLION

With this album from 1998 we might have a good example of what I mean. And it could also be one of the lesser albums in their career. It already becomes clear with the useless short opener of 1,5 minutes that has no substance at all. Next track Under the Sun isn't really giving much hope as first real song and neither is third The answering Machine. Some nice elements like Kelly's keys perhaps but like I said, it's hardly prog, even neo prog (not just an opinion by me by the way, I heard this statement more often about Hogarth-Marillion is in between pop music and neo prog). And this is besides the songs themselves mainly caused by the sort of voice of Steve Hogarth. He has a very good voice, no problem but it all sounds too mainstream, a prog voice has to be a bit out of the ordinary I have the feeling after listening to more than hundred of these voices. Three minute boy sounds like a Black Crowes song for some reason, not bad but it simply proves my opinion. Now she'll never know is a common ballad also here nothing special. These Chains is another nice song but this is hardly meant positively. There is simply nothing going on here, again no progressive elements, a 20 second guitar solo by Rothery being the highlight. Born to Run is the third easy listening song in a row making the whole thing somewhat dull by now. Again some fine guitar tries to save the song but it's too little I'm afraid. It's as if they heard me because next up Cathedral Wall starts almost heavy to quiet down after a few seconds already. These heavy and quiet moments will keep alternating on this track. One of the better, this one but that has also to do with the disappointing level of the other tracks. The only (short) epic on this album is the closing track A few Words for the Dead. This one starts a bit strange, pretty progressive for sure so they are making up for the poppy first 7 songs with the last two but I'm afraid it can't save my judgment for the overall score anymore.

This could well be their least album ever, I'm curious how that will turn out with all the other reviews of Hogarth-era Marillion. I predict a lot of three star ratings, maybe even all of them. Because that's the feeling I have with the band's efforts in the last 20 years. I will be as fair as possible on this of course because that's my duty and I have no reason to bash them all the time. It's just that it has turned out one of my least favourite neo bands through the years. Can't help it, fortunately for them overall most progfans still think they are the best neoband ever so that means I'm probably a minority. It's how it is, this one will have to settle for two I'm afraid (2,4).

Anyway, the "Less is More" axiom stuck with serious negative connotations forever since and Marillion's take on it won't help it a bit.

Next, I've always found this MTV-created unplugged hype complete bollocks. In my book, any serious piece of music is composed by or for a certain set of instruments. The whole sound of it is an integral part of the artistic vision. Music is not just a jumble of melodies you could play on any instrument. The saying that any good song should work in low-fi may be true for 3 chord pop ballads that never had much sophistication to begin with, but would you seriously expect Wagner's Walküre to sound as good on a mandolin as on the down-tuned contrabass it was composed for? Don't think so.

At best, it might be fun for the musicians themselves to explore their songs in a low-fi or a different arrangement. But I'm sure I don't want to be bothered with it. I can sure appreciate an hour long of piano or acoustic guitar if that are the instruments the piece was made for, but I don't want to hear this monotonous massacre (of some of my favourite Marillion tracks by the way) ever again.

As for B-sides collection, the album is really great!!! In fact, it could be one more regular Marillion (with Fish) album, and it's better than any Marillion album after it was released!

OK, from songs included you can easy fell that it is compilation. But ther are some very strong songs, so all the album is quite good.

"Grendel", the very first song last 17:15! Real gem for lovers of long compositions. "Market Square heroes"is wellknown hit didn't incuded in any album. Other songs are of different quality, but generally no bad at all.

I count it as last Marillion album still interesting to listen.

Music is melodic , energetic and ...fresh!!! I believe this album will become classic ( and it is extremely rare thing when we speak abot so called "neo-prog"). I like Fish voice ther, drive and melodies, nice sound - everything!!!

It's pity, but after few more albums Marillion became just one of faceless neo-prog band. In fact, I am not sure about all that name - "neo-prog". It's more name about time, not music. For me Marillion debut became next logical step after canadian Saga few first albums. Saga isn't neo-prog, and Marillion is. What the difference? And more: after Marillion few first albums succcess there were born myriad of semi-professional band playing some mish-mash of Marillion, art-rock a-la 10 cc and Roxy Music, plenty of citates from all the possible bands from 70-s. Usually without new ideas at all, with very average tecnhique of musicanship, and with hundreds of faceless albums. All that was named neo-prog. Ok, there are few so-so bands, as IQ, etc., but all others aren't accessible for listening and I believe the history will delete them as synthy-pop from 80-s, or disco.

But this Marillion album will stay as perfect example of progresive from early eighties.

It is no surprise to friends on the forum that I will rate this album highly. I am a massive fan of the Hogarth era band, and feel that they are still the trailblazers in terms of modern progressive rock music.

Of course, H albums are either love em or hate em, and I don't think this one will be any different.

What I really like about this album is that they have not opted for the easy route of redoing commercial or even fans favourites. Only one track from Afraid of Sunlight and Brave, for instance, and none from Marbles, a critically acclaimed album rightly. Instead they have chosen to delve into some of the less well known and selling albums such as Marillion.com and Anoracknophobia. The album is no worse for it either.

Go and Interior Lulu from Marillion.Com open the work. Both, in my opinion, are richly enhanced by the acoustic treatment, and Hogarth brings, especially, a rich emotion to both of these tracks, which were easily the highlight of an otherwise somewhat average LP. Interior Lulu on the original featured a manic storm of guitars and keyboards, and I actually prefer this version, stripped away and bare. As showcased on the recent Wishing Tree album, Rothery plays acoustic with grace and feeling, and Mark Kelly on the piano continues his fine run of creativity. Trewavas, normally associated with booming bass lines, backs up sensitively, and Ian Moseley also plays with delicate understatement.

Out of this World follows, the band's by now famous tribute to Donald Campbell. The acoustic version was actually played live at the memorial service to Campbell recently, and this is a track which is very suited to the quiet treatment.

Wrapped up in Time is the sole entry from last studio release, Happiness is the Road, and is one of the lesser known tracks. This is not actually that dissimilar from the original in terms of pace and does not, I think, stand up as well in isolation in the context of this album as it did as part of the narrative on HITR. However, the massive pleasure in the song is the gorgeous bluesy treatment by the band of the music. Rothery's guitar sings with great backing from the rest of the band.

The Space is the sole entry from the debut Hogarth album, Seasons End. It was a fine album, but I always felt that this track was the weakest on it, and my opinion has not really changed with this version. It is again marked by superb playing and vocals, but the slimmed down version does not really bring anything new to the table.

Hard as Love is the only entry from Brave, still regarded by many as the bands finest moment. So, how does a track clearly a very important part of that narrative/concept and very hard rocking sound in an acoustic reworking - absolutely fantastic is the answer. Hogarth and Trewavas sing quite exceptionally, especially during the chanting, and Kelly's piano playing is so sensitive to the mood that you can feel and hear the instrument cry. Quite easily the highlight of the album for me, simply because it really should not have worked. It does, and then some.

Quartz is the first of three tracks from Anoracknophobia, which is not regarded as one of the era's finest works. However, having said that, this and the other two tracks made me get out the CD which I hadn't played for a long time, and I found myself re-evaluating the work, and coming out with a far higher opinion of it. Special mention goes to Moseley for excellent percussion work, and Trewavas plays some exceptional bass. Again, the track is played in a bluesy frame of mind, but importantly does keep the tempo of the original, which was important. Newcomers and fans alike will warm and marvel at the exquisite singling and guitar playing in the Its So Hard sequence.

If my Heart were a Ball follows. This is, I think, the weakest of the tracks. The original was not much better, and I think this is one track which definitely suffers from the new approach. It meanders somewhat, never really getting where it wants to go.

Its Not Your Fault is the sole newcomer, and kit is a marvellous piece of music, this is a duet by some soulful Hogarth lyrics and Kelly's piano accompanying.

Memory of Water is the sole entry from the exceptional This Strange Engine. Truth be told, it really doesn't deviate that much from the original, which was a quieter entry on that album anyway, but it is no less wonderful for that. A great piece of music, Hogarth really excels on vocals again, while the guitar players back him up with some eery and understated chords.

This is the 21st Century closes the regular album, and is the third track from Anoracknophobia. This one benefits from the acoustic approach, and the main sequence has a great tempo to it.

The bonus untitled track is, in fact, Cannibal Surf Babe from Radiation. As with the original, it's a great deal of fun and entirely untypical of most of the band's work (but no less enjoyable for that).

I think this is a brave album for the band to release. They were really on a hiding to nothing, with some disliking acoustic music full stop, or not being prepared to have old favourites rearranged and changed beyond recognition in some cases. However, I think they have done a fine job, and, if the intent was to make people reexamine the back catalogue with a fresh approach, it has most certainly succeeded in doing so.

It is most certainly not an essential addition to any collection, although for fans of the band like myself it certainly is, but it is definitely an excellent addition to any collection. I would particularly recommend this to people who have not explored the band's music for some years, as I think it is a great way to get reacquainted with them. It will also appeal very strongly to those who like their rock music thoughtful and played in the blues fashion.

3.5 stars rounded up to four.

Can you imagine this situation around 25 yrs ago? New Marillion studio release with no interest from fans at all? So, world is different now, and the band is different as well.

I've never been a big band's fun, but I like their first 3 albums. Their later work ( both together with myriads of clones, named all together as "neo-prog" - I hope the history will delete this name and that terrible boring music as well, as it happened with disco- shmisco) was more and more repetetive and boring.

So, believe me , I returned to Marillion music just right now. There are two reasons - acoustic studio album was released and the band will have a concert in my town at November 10,2009 ( as a part of "Less=More" World Tour). So, I decided to give them one more chance ( at least-in my eyes).

From very first sounds album looks interesting - nice melody, down tempo song, very acoustic sound, but filled enough with drums,keyboards and acoustic guitar, pleasant voice. Second and even third songs are still attractive, but more and more you feel as you're listening to one of brit-pop band ( Starsailor (Hogarth's voice is a bit similar), Radiohead,etc). And later things go downside: each song,taken separately is pleasant enough, but there in fact no difference between songs at all! Believe me - at all!!!

All songs is absolutely the same down tempo rhythm ( even near to balad!), same sweety- sad simple melody, same vocal line. Even arrangements are not too different during all the album. OK, I understand, that it is something as "Unplugged" analog, so possibilities for music and arrangements are limited. But there should be difference in melodies and rhythms and tempos, at least!

After some songs you become boring and just waiting for some changes in album's songs flow. But nothing happens till the very end.

So, do you think I am going to pay 30 euros for cheapest ticket and listen Marillion soon? No way! And the album is good for collectors only.

Recorded during the final two night of their "Somewhere Else" tour in 2007, Marillion enchants the crowd at the London Forum with genuine excitement for the event. The two-disc set includes the Somewhere show featuring new material and a second disc with some older material and the recording of a rehearsal in front of fans. I didn't have the luxury of being familiar with the "Somewhere" material as I watched this so it was all new to me. The material was of good quality if not as arresting to me as the Brave stuff I really enjoyed. It ranges from mellower, moody ballads to uptempo rock songs with some nice proggy flavor to them, although the music stresses emotion over complexity. Some proggers will find this stuff boring frankly but I find it so well done and tasteful in melody that it works, in my opinion this is every bit as valid as the Radiohead approach of mucking up their songs with excessive aural baggage. I appreciate the beauty and efficiency of Marillion's sound even if I personally enjoy other kinds of prog more. I sometimes think the band prolongs certain passages beyond their lifespan but when it works their sound has a classy quality that eludes many neo-prog and contemporary rock bands.

The performance was outstanding and they completely nailed it on the production side. This audience is as stoked as crowds get, completely putty in the hand of Marillion and they don't waste the moment. Hogarth and Trevawas in particular are just playing out of their minds in this show. Hogarth's vocals are pushed and passionate almost invoking images of Bryan Ferry from Roxy's more smoking shows. Trevawas has a great up-front bass presence (I'm always a sucker for that) and has some lovely acoustic guitar sections. Lead guitarist Steve Rothery plays with eloquence and color as always though I wished he was a bit more up in the mix, and with a bit more grit in the sound. They could have taken some volume from Hogarth and boosted Rothery just a bit. Aside from that complaint this presentation is flawless in the audio and video department. Beautifully shot with a rich look, you are right on the stage with these guys who are playing like their lives depended on it. The edits are balanced to give you every view with no unnecessary nonsense. The light show again strikes it perfect, simple, gorgeous. "King" is a late highlight of the set with Hogarth and Rothery leaning on each other and wailing on guitar.

I don't believe "Somewhere in London" is going to flip anyone who has listened to phase-2 Marillion and disliked it, but for those who have enjoyed the band this performance will surely seal the deal, providing a hugely effective presentation of the band in its current state. 3 1/2 stars.

Unfortunately, in my opinion, the answer to both questions is no. I found the whole album rather boring. There wasn't a single passage which attracted my attention. While listening I either found my mind wandering off or having thoughts like "how often can you repeat a riff?" or "shall I skip to the next song?". I didn't, hoping that there would be at least a little something to release me. Finally the hidden track "Cannibal Surf Babe" made me switch off. Thanks, but no thanks.

I also can't help the feeling that the title of the album is nonsense. If "Less" would be "More", why doesn't Marillion always release their albums using this style? Easy: "Less" isn't always "More", and especially in this case it is true.

Disappointing.

i am probably still enthused by the influence of last friday's L=M show where i finally managed to pick up this platter and had the beauty of it unfolding before my very eyes and ears as the evening proceeded. i then basically locked myself away for the weekend with it and though hard about what to make of it all. the conclusion must be that anything below **** would be hugely inappropriate.

once more MARiLLiON have delivered the goods. as an album and a rather quick fire project for them this had surprised me but seeing how this still extraordinary british band had increased its musical vocabulary during the last decade or so i vaguely knew that they could pull it off without making it sound trite and campfireish. it's certainly not as misleading and unrecognizable as members of the band have pointed out previously but they are trying out various influences and styles that suit the songs very well and shine an entirely new and surprising light on them. granted, it's very mellow and thus suits me just fine at this time of year.

it's probably pointless to review each track but i'll just single out last year's "wrapped up in time" (off "happiness is the road"), which is performed in a gorgeous torch song (no pun!) arrangement and the ambient spaciness of "out of this world" has been tranformed surpisingly well into a sparse acoustic setting. they certainly tackled a lot of "sleeper" album tracks that initially did not raise too many eyebrows. i could imagine this album also serving as some sort of re-evaluating process of older material. in fact, i feel a certain urge to give 1999s ".com" another spin now!

kudos also for the wide scope of instruments used ? autoharps, dulcimers, glockenspiels, assorted percussion, a real pipe organ, you name it ... beautifully executed in masterfully subdued playing. and if steve hogarth isn't by now one of the finest and most intense and unmistakeable vocalists that the UK had produced in recent times i'll eat his pink telecaster!

a brave project with some brave music by a brave band. no pun at all again!

so ? why "only" ****? because i'd still like to cast my vote for another regular and fully amplified studio album soon!

First of all I have to declare that I don't have sympathy for acoustic albums of electric bands.

As second step I'd like to understand some things about acoustic albums: 1. Why the songs are often in a gravier tune than the original version? 2. Why the singer MUST adopt a mournful way of singing, even if the preceding version of the song was aggressive? 3. If the song is revisited why do often the musician maintain the same structure of the original version?

Apart of it let's start with L=M. 1. "The Space is destroyed. It is one of the fiew songs in this album where the structure has changed, but unfortunately in the worst way: 2. They crashed down the original pathos in "Hard as Love" with that unfortunate"Uh -Uh"; 3. "Quartz" has a fascinating intro and seems to me the best thing of this work; 4. The last track is sung in a very bad way (very strange for a grea singer like Hogarth) so it could be better identified as "MALUS TRACK" and not as bonus one

The rest is useless to describe. More or less are songs played as in a summer night around the fire.

No more than one single star