AN HOUR BEFORE IT'S DARK

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

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