Drilling Holes Marbles IV Don't Hurt Yourself video clip Note that this review is for the 2CD Campaign set. If I was juding on CD 2, however, I would say that this is an Excellent addition to any prog collection. CD 2, in fact, is so good, that I will give the CD the 4 stars - even though I have difficulty considering this to be a prog album per se, or even Neo-prog.
It is more like quasi-prog Marillion have improved since taking on H as a singer - but not consistently. I can hardly consider this album to be a masterpiece, but it is better than anything they've released since "Clutching at Straws". My personal bugbear is H's tendency to sing in the same "precious" manner as bands like Travis, Coldplay or Keane - but without the melodic sensibilities. Sadly, on first listen, I fell asleep during "The Invisible Man". This is why Marillion are The Invisible Man of the title - no one seems to notice they are still around, because the anoraks are still on, and the lyrics and music say nothing - although there is obviously awareness; "The world's gone mad and I have lost touch - I shouldn't admit it, but I have.
Much of Marbles CD 1 consists of bland but inoffensive chord progressions with boring drumming. It's not prog, although one or two tracks really stand out. Mostly CD 1 just passes by, unremarkable, and I simply wondered why they had bothered to record such tired and hackneyed phrases instead of writing the great music and lyrics I know they can write.
The lyrics generally are 3rd grade sixth-form stuff - but with exceptions; " And the edge which must be sharpened; He's losing it. And he knows. But there's a fighter in his mind and his body's tough CD 2 fares a lot better.
A notable exception is Peter Trewavas, who appears to have re-found his "bass legs", as there are some divine Dont Hurt Yourself - Marillion - Marbles (CD lines which hearken back to "Script Some have an almost Dont Hurt Yourself - Marillion - Marbles (CD flavour, which was markedly absent from "Fugazi" onwards.
What else is needed is more of the lyrical keyboard playing that Kelly is more than capable of. He experiments with effects and pads very nicely, but I really miss those strong melodies. Rothery, too, is capable of far more. Much of the guitar playing appears effortless in the worst connotation of the word.
Having slated the band for not being as good as I know they can be, I'd like to turn to the album's high points; 1 "Ocean Cloud". If you only listened to this track, you might wonder about most of the comments I have made so far - H turns in a ballsy performance, and the band pull together for a wonderfully atmospheric minute piece of prog.
Again, the bass is particularly strong and the keyboards are sumptuous. The guitar is present, but does not make much of a contribution. Rothery always used to understate much of what he did, except when it was time to crank up and let that baby sing.
Please, Steve! Let it sing again!! As I mentioned earlier, the lyrics are generally much stronger in this song - although I cringed a little at the plagiarism from Pink Floyd's "The Wall" - I'll let you spot that one ;0 2 "The Damage". As noted earlier 3 Angelina. We have a quasi-jazz intro! We have amusing lyrics! We have a melody for which the "precious" voice works very well.
Rothery privides some nice little fills, Kelly provides sumptuous pads, Trewavas, as ever, is solid - and Moseley feels the soul of this song. It's not prog, but it IS wonderful! I'm really not sure about the lyrics - when taken by themselves they are hardly inspiring, but H makes them work with this track, which is full of exaggerated light and shade. Kelly shines with the best and most varied keyboard work thus far, Moseley and Rothery seem to enjoy rocking out, in those moments that call for it - but it's the keyboards which steal the show, albeit in an understated way.
Now this is what I am talking about! What Marillion are capable of - some very interesting drumming that seems to echo Ringo, some very strong songwriting that hearkens back to "Script Rothery has a delicious, almost Scottish flavour to some of his solos that distinguish him from a simple Gilmour plagiarist - when he's on form, you KNOW it!!!
The sound is there, but we need your solos, Steve!! There are elements of early Genesis or possibly Supertramp in the piano sound and acoustic guitar work, but mainly the feel of this minute piece of quasi-prog seems to lean more towards Camel. I have to say it's quasi- prog, because it consists mainly of a long jam around a single chord-progression, and only occasionally experiments outside that frame.
I suppose the biggest problem for Marillion after Fish left was the legacy they had created. They were their own tough act to follow - although Clutching At Straws was hardly the masterpiece that the first 3 albums were. They deserve full respect for sticking with it, and finally producing music of the quality we have on this album. If they continue improving in this manner, the next album could well be their next masterpiece; Real kudos goes to the way they successfully got a single into the top 10 without help from the record industry pigopolists!
Marillion may yet be reborn and I sincerely hope they are! Buy this album out of principle, and know your money is going to a good cause; putting prog back onto the lofty podium it rightfully owns, and giving the record industry a kick in the pants!!!
Then I gave another try. Simply put, I didn't want to pigeon hole the band to a certain category of genre or use music boundaries. I just plainly used my ears and my mind to listen to the album completely. So here I am, in the boundary-less definition of anything, open my mind, sit down and relax it seems like an opening words for Jethro Tull's "Bursting Out" live hah?
Well, music has inspired me a lot, friend! And this is my experience. With a spacey touch in intro part, drum-loop and a bit of percussion sound with mellow keyboard "The Invisible Man" enters my mind.
The first minute reminds me strongly to the intro part of "Assassing" the band's second album. But if combined with the keyboard sound this first minute reminds me to the nuances of intro part of Fish's "What Colour is God" of Sunsets on Empire album.
Am sure this is purely a coincidence not an intention. Fortunately when Hogarth's vocal slowly enter all of that association with other compositions are gone. I have to admire that this track is terrific, well structured with a mixture of great sounds. Steve's guitar sound is really excellent. I guess he played it with his heart as the sound he produced so damn smooth.
Mark's keyboard sound is rich and sets the whole tone of the track. Track 2 "Marbles I" is a pure easy listening pop music. I think the band tries to emulate? Lyrically, Marbles tracks are weak as they tell the story about little hogarth played with marbles. So simplistic and not unique as many people have similar experience during their childhood, I think.
Track 3 "Genie" is Dont Hurt Yourself - Marillion - Marbles (CD than a pop music and a little bit boring on its melody part. It still mellow, but minute 4 the interlude is terrific, this segment produces nice melody with touchy guitar fill. The closing track "Ocean Cloud" is an epic. Again, I rate highly on this track as it has a beautiful composition.
Hogarth sings with his heart, I think. The ending part of this track reminds us to early Marillion music style, stunning guitar supported by keyboard sound as a background. So boring Mr. Hey, I don't understand why hogarth is called with "Mr. It does not rock mann. I give 5 star for two tracks: :"Invisible Man" and "Ocean Cloud". It's a nice track though. I like the acoustic guitar intro of this track. The music flows nicely and good melody when hogarth sings "Don't Heart Yourself.
Really cool, I think. I also like the guitar sound produced here, it's a kind of Hawaiian style. Congrats Steve! It's a nice pop song, sounds like house music, with drum-loop. It's a coincidence, I believe. It's an enjoyable track. This track has reached UK chart no. Hogarth voice enters the track very nicely, I like it. The Dont Hurt Yourself - Marillion - Marbles (CD reminds me to Peter Gabriel solo album such as "UP". I like "Drilling Hole" very much.
It has a great composition in the easy listening scheme. Keyboard playing is really excellent! Congrats Mark! The interlude part makes you fly, definitely! This track blows y mind! I rate this track as high as "Ocean Cloud" and "Invisible Man". I cannot let myself not to repeat this track I'm listening to it now with a headphone.
Again, Hogarth sings with his heart completely. The keyboard background creates a solid nuance for the track. This is a track that may inspire you to create wild ideas about something you think about. Listen to Steve guitar playing. So wonderful man!!! The acoustic guitar part at minutes is damn cool mann!!
Oh God, I love this piece very very very much! Then it flows nicely with Steve stunning guitar playing. In this track also I can get a feel of Pete's tight bass guitar playing nicely. It has created something different with some notes that some tracks are sort of "derivative".
Songwriting is good even though the lyrics are so simplistic in some tracks. Musicianship is terrific. One thing bothers me though: "where is the challenging job of Mr. Ian Mosley? There is no dynamic drumming in almost every track. Some track use drum-loop or programming. So, Ian's capability is not fully capitalized in this album. Such a waste actually, because I know that Ian is a terrific drummer. Hogarth voice is great. Steve Rothery and Mark Kelly contributions are dominant. Pete is not fully at his potential.
Ovearll, they are great musicians. Bravo Marillion! Gatot Widayanto, Indonesia. The new album "Marbles" comes in three different editions. There's a pre-order double album in a beautiful carbon case, with a page booklet, with some fine artwork and all the names of the people who pre-ordered in time. If you don't want all these names, you can order the double album in a jewel case and there's also a single retail version, Album), which will appear officially on May 3rd.
I can certainly recommend one of the double versions because you will be missing quite a lot on the single album. After some indefinable noises, it begins with a rhythmic intro with lots of bass and drums. Soon it evolves in a quiet part with a beautiful vocal line. Every musician is doing some subtle things that you don't notice at first, but the more you listen to this track, the more you discover.
Slowly it grows back into a more rhythmic piece and every one's contributions become more important. There's still a piano-vocal piece and a short slow bluesy guitar solo to digest to complete this track. The second long almost 18 minutes progressive track is called "Ocean Cloud".
Not on the retail version. There's enough in this track, even to much to describe everything, and I don't want to spoil all the fun. If you want to know more about this guy, you'll find more info on www.
Maybe there's not a lot of variation in this track, but once more Steve Rothery proves that he's still alive and kicking. And finally, there are the four short "Marbles" tracks, which I initially didn't like, but they are growing on me.
Still, they will never be my favourites. H sounds deliberately? They tell the story how Steve launched marbles high in the air with a tennis racket and crashed a lot of greenhouses in his neighbourhood.
His father took away his marbles and that seems to have made a great impression on little Steve. Don't expect any "Hooks On You" explosions, because there's a lot of laid back material. If "The Invisible Man" had been the first thing I'd ever heard from the band, I would have been even more impressed and I was pretty impressed. The song has a long, slow build with a number of unique and sometimes unidentifiable sounds; instead of complicating rock structures, they break them down here, and make the component sounds more interesting.
Hogarth even sounds like a decent singer much of the time, letting his voice burst out of him without the usual narrative urge. Some of the lyrics seem clumsy here, but not enough to really hurt. The composition is wrenchingly expressive and wonderfully paced despite a quick relapse to classic MARILLION hard rock after the sampled narrative segment Dont Hurt Yourself - Marillion - Marbles (CD resembles "Invisible Man" in both tone and structure- a nice round trip for the first disc.
The second half begins with the lovely, too-brief "Marbles III". Their best shot for commercial release,"You're Gone", unfortunately bases itself around a variant of the timeworn 'funky drummer' loop well why not, everybody else has done it!
The Sgt. Pepper comparisons are unavoidable on "Drilling Holes", which has a definite "Day in the Life" impulse in the lyrics. The music, however, is quite adventurous, often hard- edged like a segment of "The Wall" or even "Pros and Cons of Hitchhiking", but I'd prefer to be complimentary but also featuring quiet, suspenseful breaks that broaden the dynamics.
The last "Marbles" installment returns to the whispering jazzy feel of the first and then slides into the passionate closer "Neverland", with its shuffling drums and "Great Gig In the Sky"-style piano. There's some ill-advised echoing vocal lines, and maybe it goes on a bit too long, but there's no denying the cathartic power of the album's conclusion.
It's slightly less satisfying than the first side, but the fact that they can get so much out of the usually deadly double-album format is impressive on its own. The last decade of development in rock has finally made a mark on them, and they ride a dangerous edge between attempting to modernize their approach and coming off as crassly trendy.
Luckily they generally emerge with their dignity intact and the character of the band unblemished. Marillion's latest at time of writing album has the familiar feel of their Hogarth era output. It is both a telling and courageous move, especially after their apparent distaste in recent time for being labelled prog, that the album opens with a thirteen minute track, "The invisible man".
This is indeed pure prog which passes through various emotions and time changes. There's a bit of "Seasons end" track cascading guitar, and a lovely choral keyboards backed section which finds Hogarth at his emotive best, as the band rocks out behind him. A wonderful opening track. The final track, "Neverland" is the other feature track, running to 12 minutes.
The highlight of the track is the excellent guitar work, with it's echoes of Dave Gilmour. The track is more reminiscent of the Afraid of sunlight" album, especially "Out of this world".
The single "You're gone" which Marillion fans managed through excellent collusion to get into the top 10 of the UK singles chart is also included here, and in truth makes for a better album track than single. The double CD version only available through the band's website includes an excellent 18 minute track, "Ocean Cloud".
As with most Hogarth era Marillion albums, for me "Marbles" is a bit too wordy. The band should have the courage to exploit their instrumental prowess far more. That said, this is Marillion's finest album since "This strange engine" which I rate highlyand a welcome return to the type of music they do best, i. Now, moving on to the composition of the album in its entireness.
There are, like in the rest of the productions after "Brave"; a couple of tracks that set off the rest in here. Such is the case of "The Invisible Man", a song that really made it due the effort and dedication put together in here. It certainly has got the seal stamped by Steve HOGARTH ever since he made it to the band, it contains the unidirectional trend the band adopted over the years and which happened to improve remarkably.
I quite enjoyed it despite the blank moments it's got and the unappealing arrangements done to the acoustic fragments and the circular percussions.
Under the terminology of "great", like I just described up above; "Ocean Cloud" is another supporting anchor that avoided the entire production to irremediably sink deep down in itself. Here, the unexpected progressive changes, the swinging of one type of mood to the other and the back and forth struggle to resemble the track to the most powerful song ever written in this second period of the band, certainly appeared to be credible.
It could've reached the heights where the epic and the memorable unite, but once again, the remains of the "three hit albums" saga, took place in here and took over the rest of the song. It is fantastic to feel though, that there's a display of effort. But it's never enough until you complete the mission of completing a full convincing production, and "Marbles", certainly doesn't appeal to that. The regression to simple and plain, is perfectly reflected in pieces like "The Damage" and "Don't Hurt Yourself", where playful, indescribable lyrics float around with no purpose at all, just to push both songs away from another couple of instrumentals.
But the inexplicable, the outrageous and shameful, is condensed in some other excerpts of that rock pop essence once worked out for the band during the nineties. In my opinion, I wouldn't have added up these tracks to the final cut version, but a 2 CD set album has got to be completed somehow.
So, this 2 CD presentation album has several purposes, where some of those will be discovered by you over the constant sessions of listening to it; represented mainly by vindication after releasing a tendentious single retail version and obviously, by a possible full acceptance. Which happened to be not completed and empty. The purposes to me will relay on completing your album collection and for you to see that it's not about comparisons, it's about realizing how ungrateful time has been to this "renovated" neo prog band of the relentless nineties.
Not indispensable, that's for sure. Once again, the music is similar to James and U2 in steel pedal atmospheres and floaty keyboards. I would really recommend this album to anyone who likes James, Radiohead or early U2 material.
This is hi-fi producted rock that will please the normal rocker who wants to get his ears into mature and deeper textures. On top, a big hurray for exquisite package and art cover. Did you noticed that the cover picture is actually 2 half faces making one: one of a boy and one of a girl.
Please use intensively at night and ONLY at night. Sunlight could seriously damage magic moments and destroy the very purpose of the record; listening music at night is enhacing the buzz. But since it sounds sooo badly like a cross of James, Radiohead and U2, I give it 3 stars for lacking creativity. The Invisible Man starts off slowly, with a droning down beat that quickly picks up pace as the band becomes more involved with the track.
Trewavas gives moments of wonder with nicely timed harmonics as Rothery creates moody and melodic guitar lines. As Hogarth begins the vocal, one can already tell they are going to be going on a fun ride. The solo that Rothery takes towards the end of the song is among his best on the album.
Marbles 1 is the first in a series of 4 Marbles songs simply about a child who loves marbles. Some nice echoing harmonics are featured as well as a catchy beat throughout the timeframe. You're Gone and Angelina are two of the "poppier" songs on the album, with You're Gone being the leading single from the album Don't Hurt Yourself also got its own single soon after. Marbles II is a continuation of the Marbles theme of the album. Hogarth really goes all out on the vocal here, hitting falsettos during the chorus.
Marbles III is the next incantation of the Marbles theme, expect more of the same from the past two. Drilling Holes contains some very emotional work from Rothery as well as some very inspired lyrics and vocals from Hogarth.
Marbles IV is the final incarnation of the long running Marbles theme, and it finishes off nicely, with Hogarth asking, "Did anyone see my last marble? Neverland is the conclusion to the album, a stunning 12 minute epic with magnificent keyboard work from Mark Kelly, as well as a heart-pounding guitar solo from Steve Rothery.
Overall, Marillion has outdone themselves again with this landmark release. Their 90's sound has come full circle with this release, a brilliant amalgamation of pop with progressive rock. Highly recommended. A good 3 months after I ordered. Once it made it, however, I was treated to nothng less than shear brilliance! I have all of their stuff, but for a while it seemed that Marillion were going to float around with mediocre releases primarily Marillion.
Anoraknophobia showed some spark was left in the engine, but Marbles solidified that this is still a band with which to be reckoned. Since it's release they've released a live DVD and 2 live albums surrounding the Marbles material, and for good reason. It's something that Marillion are definitely proud of. This CD has some instant classics. The latter two just grip my very soul with brilliant musicianship, and lyrics that makes it hard to believe they were written by a mortal "I can see you in my minds rose tinted eyes.
Somewhere you're drifing by--your heels rolling sparks on the lucky street" and "Say you'll understand me, and I will leave myself completely. Forgive me if I stare, but I can see the island behind your tired, troubled eyes. My only gripe is I wished the deluxe edition followed the single and started off with "The Invisible Man", "Marbles I", and "You're Gone" because I think it flows a bit better; but, that aside, it's understandable why Mark Kelly considers this to be their best album ever.
Beautiful work! Well, I guess the 2 years they all put in this album really shows. Steve Hogarth's voice is great and all and fortunately, after more than 10 years with the band, almost nobody is comparing him to Fish anymore.
I think this is completely ridiculous! If you were not aware there also was a double DVD version of it, you actually miss half of the show! So I just want to say one thing to MARILLION' ; "come on guys and from now on only distribute the double albums and no longer the cheap formatted single disc versions as we are not interested in them! Well, so far about my frustration with the record companies. Maybe not too proggy, but the mixture between pop, rock and prog seems to work quite well for them.
Go on and buy this album. More so than any Marillion album to date, the band's unique blend of artistic accessibility is at the top of its game-- and has never sounded more refined.
The songs on "Marbles" ooze emotive virtuosity, and offer more variety than any other of the band's albums; there are amazing sing-alongs and extended masterpieces throughout. Each member of the band reaches new heights on their instruments, with Rothery's guitar playing destroying expectations with his most powerful solos to date. Trewavas and Mosely sound their most in-sync as well, playing very interesting and rhythms driving the band's dynamic songs; Trewavas in particular plays with more gusto here than on previous albums, making "Marbles" sound more bottom-heavy and grandiose.
Although every member is top-notch, h's vocals are nothing short of soul- shattering; "Marbles" is his finest hour, and features his most awesome use of range of phrasing ever. However, the epic "Ocean Cloud" found only on the extended edition is-- hands down-- the best Marillion song ever recorded.
Even after a hundred listens it retains its gigantic scope and power; truly amazing. Enough raving-- get it now or listen to it again! I do not enjoy the single "You're Gone" at all; it sounds very middle of the road AOR to me, but without a good hook or guilty pleasure factor. It's the kind of thing you'd expect to hear in the background at a shopping mall. I'm glad it did well for them, but it ain't no "Beautiful".
As always, when Marillion tries to rock hard "Drilling Holes"they fail pretty miserably, in my opinion. They are much better at mid-tempo and moody, as on the double CD song "Ocean Cloud", which is easily the match of the best stuff on the single CD version and tells a compelling tale.
Rothery's guitar playing really shines on this one. In fact, Marbles represents a sort of renaissance for him as a whole. Marbles is a very good album. It takes what was good about nineties Marillion and mixes it with a healthy respect for the past, with a couple of missteps. What is best about it is that it re-establishes a signature sound that was established on Afraid of Sunlight, a kind of progressive pop that relies a lot on ethereal atmospheres, which I like a lot. For a band that many had written off, it is a triumph indeed.
Hopefully they can keep up the good work while not catering too much to the current market. In the three years between "Anoraknophobia" and "Marbles", I heard the whole Marillion discography. And I saw that for me, "This Strange Engine" was their last great album. These trilogy made for "Radiation", "Marillion. Was not enough for me. But like every new fan from a band, my expectations were huge for the new release And finally came out, with the name of "Marbles". And what can I say?
It was better than I hoped, honestly Here we have a new concept for the band, being the marbles the link for this concept And since the first song, The Invisible Man, you can hear a band with new energies, and ideas.
But the best for all That's pure Marillion I'm talking of the Hogarth's era, of course. And the album that came to my head in this moment was "Brave". I've always seen a relation between the two albums. Maybe the production, the details, the feeling All News Daily Roundup.
Album Reviews Song Reviews. Song Lyrics. Review: RIFF-it. RIFF-it good. Add Comment. Get the embed code Marillion - Marbles Album Lyrics 1. Angelina 2. Don't Hurt Yourself 3. Drilling Holes 5. Fantastic Place 6. Genie 7. Marbles 1 8. Marbles 2 9. Marbles 3 Marbles 4 Neverland The Damage The Invisible Man The Only Unforgivable Thing You're Gone Preview the embedded widget Marillion - Marbles Album Lyrics 1.
Cheeeek that out dude. Lead RIFFs:. Bad selection. Save Cancel. Really delete this comment? Yes No.
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