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Marillion - Fugazi CD (album) cover





3.98 | 1352 ratings

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The Prognaut
Prog Reviewer
5 stars During the first half of the eighties, several progressive rock bands started to suffer considerably due the projection the decade to be was taking on. The musical tendencies started to drift away along the disco music vein, people started believing in some other performers, some other fashion trends, some other ways of independent thought, some other iconic platforms and a new society full of brand new challenges was born. The emptiness started to take on those newly born societies all over the Western world as the years went by, looking for a place to spawn, away from individuality and self-consciousness. In between those seas of confusion, many top class bands experienced the downhill sensation, and it sort of reflected negatively on their productions. The years from 1983 to approximately 1987, were determinant for most of the changes happening endlessly around the prog world. PINK FLOYD released their last production as a band under the name of "The Final Cut", letting the fans and media speculate endwise about it; at its turn, GENESIS released "Duke" and "Abacab" during the early years of the eighties, turning the criteria upon them as "doubtful and unconvincing"; dreadful and undermining productions like "90125" and "Big Generator" by the end of the decade didn't give YES back much of that recognition they have been holding on to during the incomparable past years. And those just to name a few, since facts needed to be shown at some point here.

But not everything was lost or considered a waste of time at all for prog world. With changes and improvements, comes experimentation and success. A new phenomenon was born, and it was called "Neo Progressive Rock". Among the most recognizable bands commanding the movement, we can find IQ and PENDRAGON representing the reborn British prog scene, PALLAS putting Scotland on the prog map, and obviously, the band that entirely led the true meaning out of the whole genre to be considered as precursors, MARILLION. Many of the bands followed the footsteps of some of the top class bands that rocked the 70's, having preferential inclinations like the Peter GABRIEL era on GENESIS; the PINK FLOYD sustained by Roger WATERS and David GILMOUR; and the Bill BRUFORD & company YES. Derek DICK was a huge GABRIEL fan himself, and took some of that perdurable GENESIS essence along his fondness of ELP and his Floydian attitude, to put together an outstanding, wreckful in the very beginning; band.

By the time MARILLION released "Fugazi", they pretty much proved the those days prog scene they were a relying, independent band that was there to stay. Masterful created piece "Script for a Jester's Tear" speaks for itself. After their debut album, FISH drove the band throughout unimaginable paths, clearing the air for a new matter of perspective set before the eyes of their time. With "Fugazi", a new wave of multitalented musicians was born, demonstrating it was possible to be not only the conductor, but the "voice in the crowd" as well. FISH lacked of a self-centered attitude and personality, but the mysticism and the magic behind his lyricism, turned him into the musical poet he is now. "Fugazi" not only evokes progress and innovation, but perfection and togetherness. There's a dash of "Script for a Jester's Tear" scattered all over this 1984 production, but the authenticity surrounding the blend of emotiveness and the thirst for experimentation that makes "Fugazi" so unique, is amazing.

I made "Fugazi" my favorite album out of the entire MARILLION experience for several yet evidential reasons. It's got everything, the incomparable wit, the acid romance, the inscrutable morbidity and perversion, the music and the passion. There's no single track I like better than the other in here. It can go from provocative to intriguing in a matter of chords. "Assassing" is playful and fresh, suggesting not to take life so damn seriously; "Punch and Judy" is sober and encouraging, provoking all kind of sensations; "Jigsaw" is sensual and enticing, making your skin crawl endwise; "Emerald Lies" is violent and relentless, "looking in shades of green through shades of blue"; "She Chameleon" sustains the crimsonness and the ruthless compassion of the album, displaying marvelous keyboards playing by Mark KELLY. "Incubus" is one of the most underrated suites by FISH and one of the most determinant in his career as lyricist. The lyrics here outstand from the believable, from the unthinkable and definitely provoke a nervous reaction. Undeservedly, this piece was crafted under less expectations, and that unawareness took it to the heights of perfection. The composition is fantastic, the interpretation incomparable and all the emotion and expectation set upon this album, paid off pretty well.

When moving on to the self-titled song, you will realize you made such an excellent job purchasing this album. That one I won't describe, since it's up to you to describe your own "Fugazi" moment. It'd be unforgivable to miss out this album, either you can relive the good old feeling by playing it right now or you can start living it by getting it as soon as possible if you haven't come across it yet. Recommendable by all means, and at all levels.

The Prognaut | 5/5 |


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