Review – Marillion – Afraid Of Sunlight – Deluxe Edition Re-Release

Today sees Leo Trimming helping Progradar ‘catching up’ with the most recent deluxe edition re-release before the imminent deluxe edition of ‘Script for a Jester’s Tear’ in April!

Marillion’s great series of re-releases in Deluxe editions continues with ‘Afraid of Sunlight’, first released in 1995. This was the last album Marillion made for EMI, but what a way to bow out as it’s one of the highlights of their career. Indeed with the previous album , the magnificent and chilling ‘Brave’, the mid 90’s could be regarded  as one of the greatest peaks in their whole career… and yet it was born in a difficult period  for the band .

To put this album in context Marillion had been with EMI records since 1982 and had achieved considerable commercial success in the mid – late 80’s with  Fish, including a string of hit singles and albums around the world. The transition to new singer Steve Hogarth was inevitably quite tricky. Their first Hogarth era album , ‘Season’s End’, had been high in quality, but it had not really resulted in quite the commercial success for which EMI was hoping. Follow up album ‘Holidays in Eden’ , perhaps under pressure from the label, had clearly been intended to sound a little more mainstream and ‘pop’. However, Marillion simply were not having the same sort of chart success that they had enjoyed in the 80’s, and the pressure was mounting. What did Marillion do then? Perhaps typically for this band they did what they felt was true to them and did exactly what they wanted to do, not what others wanted of them. They withdrew to a French chateau studio and spent many months creating one of the artistic highlights of their career in the long form fully segued concept album ‘Brave’… one can only imagine what EMI thought when hearing a concept album, which was late and over budget, focusing on a strange tale of abuse and suicide – ‘Lavender’ and ‘Kayleigh’ it ain’t! 

By 1995 relations with EMI were very strained. In the excellent booklet packaging which houses this 4 CD & 1 Blu-Ray release, packed with great artwork and interesting pieces about the album, Hogarth reveals that their manager told them:

EMI didn’t want another record after ‘Brave’, but he’d persuaded them to do one more if we could do it quickly and cheaply and that was ‘Sunlight’ and that’s why we even wrote, partly in jest, on the sleeve, this album was ‘knocked out’…  I think it’s a great record, but after that we were gone.”

For an album that was apparently ‘knocked out’ in 3 months (which is remarkably brief in the context of their recording history) there is no sense when hearing it that it’s substandard or feels ‘rushed’. It seems at that point in their career whether an album took 18 months or 3 months Marillion could produce the goods. So what makes this an album revisiting or investing in 25 years later? 

Original Album Artwork

There will be two sorts of punters considering this album – those that have bought it previously and are interested in the musical ‘extras’, the remastered sound, and the packaging. There will be others who may be discovering Marillion belatedly, perhaps after the great success of their most recent 2016 album  ‘F.E.A.R.’, who may know nothing about this album and wonder whether it’s worth buying? 

The short answer is ‘YES’ – this album is simply one of the best albums the band have ever released. However, such punters may need a little more  information to help decide whether to invest so we will try to go through the album for new listeners. 

‘Gazpacho’ opens with sound clips of an MC introducing a World Heavyweight Boxing championship bout, and then a quote seemingly from John Lennon (but may actually be actor Bernard Hill who voiced Lennon for a documentary) ‘… I would find myself seeing hallucinatory images of my face changing and becoming cosmic and complete’. This immediately sets the scene for an album which touches on the destructive nature of stardom with references through the album to figures such as ‘Raging Bull’ Jake La Motta, Mike Tyson and O.J Simpson. This also reflects the struggles Hogarth was having in dealing with the trappings of being plunged right into the limelight as the front man with a successful Rock  band – before being called to sing for Marillion he has shared he had seriously been contemplating giving up music and becoming a milkman – quite a contrast and change in his life.

The track ‘Gazpacho’ darkly refers to stains on a Versace scarf, which may have been blood stains or ‘were they really just Gazpacho’. In a period in which blood stains were central to the notorious OJ Simpson murder case the reference is clear. This is a song which rides along on a fat juicy bass line from Pete Trewavas and a rock solid beat from Ian Moseley. Rothery takes up a sprightly melody on guitar and Mark Kelly’s keyboards fill out a surging, almost joyful theme – a strange contrast to the dark subject matter. Halfway through the song a darker force takes hold as the volume recedes to a strumming guitar initially and more sinister tones reflects the fall and anguish of the main ‘hero’.

Hogarth’s voice here is in spectacular form, rising and rising with emotion, before the song returns briefly to the theme and feel of the opening section. The extended conclusion to the song becomes more impressionistic with chiming guitars, staccato drums and garbled phrasing from Hogarth. Backed by Kelly’s keys the song fades away behind the news footage of the famous televised ‘slow chase’ of O.J Simpson’s car on the freeway… and that’s just the first song! Don’t worry – we  won’t go into such detail on all the songs, but it was worth focusing on the subtlety and imagination of a band contrasting musical and lyrical themes, gradually descending from the ‘glam’ of the opening section into much darker, denser themes reflecting the fall of the protagonist.

Cannibal Surf Babe is pure acid Beach Boys powered by a fantastic bass line (Trewavas appears to have been on fire on this album) and thumping drums (taken from the first take and never bettered, according to Moseley). Kelly’s playful, quirky keyboards spray psychedelic sounds all over the song, and you can hear exactly why the working title was ‘X Ray Jangly’ . The weirdness of The Beach Boys’ genius Brian Wilson permeates the bizarre lyrics (partly contributed by John Helmer who helped write the lyrics for the majority of the album) which Hogarth sings with maniacal glee: 

‘I was born in nineteen sixty weird, I’m your nightmare surfer babe, Mr. Wilson where’s your sandbox and your beard…’

The piece trails away with a subtle synth line, which had been part of a song called ‘Icon’ that did not make the album), with a French woman dreamily saying the concluding lyrics of the song in French. This segues into Beautiful, the only single released from the album, reaching number 29 in the UK charts. The album booklet reveals that this song was their response to a request from EMI label boss for them to do their own spin on a song like ‘Cry me a River’ (!!) – whatever the inspiration, it’s a lush, rolling rock ballad with a band in perfect sync creating a suitably ‘Beautiful’ song with touching lyrics, and a gorgeous Hammond organ from Kelly in the conclusion.

‘Afraid of Sunrise’ literally shimmers in plaintively like some sort of mirage in an understated manner with Rothery’s acoustic guitar, subtle bass and very light drumming beneath a soft synth line. Hogarth sings with great delicacy but feeling over this lovely setting. It’s easy to hear why the working title for this song was ‘Joni Mitchell’. Surreal lyrics are open to interpretation but could refer to a journey and the feelings of a driver anticipating a downfall when the next day dawns. The ‘Day-Glo Jesus on the dash’ line led to a disagreement in the band about the original album artwork.

Carl Glover had prepared the startling ‘Day-Glo Jesus’ image, which Hogarth wanted as the cover, but this was vetoed by the rest of the band, fearing it may present them as a Christian rock band. Well, it seems the band have finally seen the wisdom of Hogarth’s judgement and this re-release features the ‘Day-Glo Jesus’ in glorious technicolour as the cover image, replacing the peculiar ‘Angel Boy’ image hurriedly used for the original cover. Another curiosity about this song is that in essence it has the same musical roots as Afraid of Sunlight. The band had created both versions, and were considering cutting one. They had even considered trying to merge them together, but in the end they made the wise decision to retain them both separately as they have undoubted quality in either manifestation.

Ill-fated British water speed hero of the 1960’s, Donald Campbell, inspired one of the highlights of the album, the evocative ‘Out of this World.’ This song is deceptively complex with three distinct phases touching on this tragedy from the emotional perspective of Campbell’s wife watching on as her speed obsessed husband  killed himself pursuing his dream. Hogarth’s vague childhood memories of this famous accident are transformed from a straight narrative in to a piece revealing mixed emotions for the on looking wife. Reportedly Campbell and his wife were virtually estranged by the time of the accident such was the division caused by his obsession for speed.

The song seemingly slowly emerges from the deep with subtle guitar chimes and drums over a watery synth backing leading into Hogarth’s mournful vocals. The second phase of the piece comes after the lines ‘At such speeds, things fly’ as the song surfaces with a majestic airborne guitar solo from Rothery. ‘Out of this World’ settles its trajectory with plaintive lyrics filled with pain, Hogarth’s soulful vocals intoning ‘Only Love with Turn you Round’ repeatedly (inspired from a line in ‘Brave’ album song ‘Runaway’). This presages the third tragic phase with contemporary speech clips stating ‘Complete accident, I’m afraid…’  over a baleful synth wash acting as a stark canvas for Hogarth’s final pure elegiac vocals and there is a real sense of sinking into the depths.

It’s a remarkable and deceptively complex song showing Marillion’s ability to look at a subject from interesting and emotion filled angles – in the hands of lesser artists this would have been a straight narrative about a famous accident, but this piece transcends that story, imbued with pain and feeling. Somewhat amazingly it was hearing this song which inspired marine engineer Bill Smith to organize the project to raise the ‘Bluebird’ vessel from the depths of Coniston Water in 2001, and led to Hogarth singing the song at Donald Campbell’s funeral – peculiar what art can inspire sometimes.What can I say about ‘Afraid of Sunlight’? It’s undoubtedly one of the best songs the band have ever produced. It oozes with class and depth of feeling.

An eerie guitar line intros a haunting piano and a gentle drum pattern and soft bass… and then Steve Hogarth sings with such resonance and delicacy. It’s a truly heart breaking beginning. The meaning is obscure, but may be about the conflicted feelings of a couple unable to tell the truth to each other. They are together but in pain, perhaps lying in bed fearing what will happen in the morning – the possible implication that in the morning one of them drives away from the other… well, that’s one interpretation but great art can be interpreted in different and many different personal ways by the recipient.

The tempo and power rises magnificently with Trewavas’ bass line pulling it all together with the impactful, memorable chorus, before briefly receding again with a more reflective passage. The chorus returns and the song becomes darker and more bitter, Hogarth’s vocals reaching a great crescendo ‘It’s a matter of time’. Mark Kelly’s rising keyboards take on the melody fluidly, whilst underpinning it all along is Moseley’s rock solid rhythm.

Rothery unusually is not to the fore on this song largely but he then adds another emotional level with a subtle guitar line interweaving the emotional musical maelstrom… and then bereft the song falls to it’s knees with a coda that is drenched with feeling. Kelly’s delicate piano and synth perfectly framing Hogarth’s crystalline and ultimately falsetto vocal. I may not know exactly what it literally means but I can certainly feel so much hearing the highs and lows of this stunning song.

‘Beyond You’ is a song which showcases the significant impact producer Dave Meegan had on Marillion’s material as he recorded their sessions and jams, and helped the band build on those moments to form great songs. Meegan felt the song had a sort of Motown vibe so after the sonorous and restrained opening synth led section he suggested a Phil Spector type ‘Wall of Sound’ feel, which erupts in the refrain ‘If I was a child…’. Moseley’s echoing resonant drums swing and pizzicato keyboard strings take us right back to Detroit, before the song sinks back into Hogarth’s heartfelt tones.

The finale returns us to Spector territory featuring a fine slide guitar floating above the main melody before the whole thing fades away sadly. This is an intensely personal lyric for the singer reflecting turmoil in his own private life to the extent that he felt unable to sing it for years… it is also the song I struggled to get my head around for years with it’s juxtaposition between the clearly very emotional lyric and the almost jaunty refrains, until I realised the connection with Motown. We all know Motown artists were the masters at contrasting heartbreak with upbeat music so it fits.

This remarkable album concludes with the startling opening guitar and synth fanfare chords of the momentous ‘King’  before a melange of various voice clips about fallen heroes, particularly Elvis, Lennon and most notably Kurt Cobain who committed suicide in 1994. Marillion were the first band to play after his suicide on the Munich stage where Nirvana played their final show, which inspired the band to write this sonic and emotional powerhouse of a song. Rothery’s guitar sets up the melody supported by softly jangling percussion and understated keyboard, underpinned as ever with Trewavas finely judged bass.

Hogarth sensitively sings about the ruinous effects of fame: ‘To be cursed with your Dreams’. The song almost literally explodes with the whole band titanically pounding out the main rhythm and Kelly’s synth eerily writhes above the melee. After a brief respite the song descends in to a disturbing and dark spiral with a wildly discordant guitar from Rothery tortuously screaming out pain. The lynch pin keyboards of Kelly return gently under Hogarth’s fragile words leading into some weirdly distorted spidery guitar. The tension and power gradually rises as Hogarth bellows out the inner pain of the main protagonist. Kelly’s building keyboards leads a headlong crash for the whole band in a chaotic, deafening conclusion which sounds absolutely MASSIVE! Tragedy never sounded so powerful…

… hopefully that will help convince new listeners to ‘catch up’ with one of the finest rock albums of the 1990’s (and was named one of the ‘Recordings of the Year’ by ‘Q’ music magazine in 1995).

What about those that already have this album? Is it worth shelling out for it again?

Well, the short answer (again!) is YES!

The presentation of this album alone is worth getting it again, housed in an impressive book design with beautiful artwork images from graphic designer Carl Glover and fascinating insights in to the album and it’s creation in the accompanying various essays, including one from Bill Smith about his search for the ‘Bluebird’ inspired by ‘Out of this World.’  

Musically, the package includes the original 1995 Dave Meegan mix. Michael Hunter has remixed this deluxe edition version, but in all honesty I am hard pressed to identify any startling differences from Meegan’s original mix. This is testament to Meegan’s original fine production work, acting as ‘Marillion’s George Martin’ in pulling it all together and making it sound wonderful. ‘Out of this World’ is probably the song in which there is the most notable changes to the original – Hunter’s mix brings out different elements – it’s a fine mix, but ‘different’ rather than ‘better’. For an album recorded with decent 1990’s musical technology there is not quite the same scope for sonic improvements heard more clearly in modern remasters and remixes of earlier vintage 1970’s albums by other artists. Nevertheless, Hunter has done a fine job on the latest version.

This re-release also features the complete performance from the ‘Afraid of Sunlight’ tour show at the Ahoy in the Netherlands in 1995. Some of these songs have previously been released on their swansong EMI album, the live double album ‘Made Again’ released in 1996, which mixed songs from a few tours. It is great to hear this whole concert which features fine renditions of 5 of the 8 ‘Afraid of Sunlight’ songs, particularly an enormous sounding ‘King’, as well as the ‘Icon’ intro in to ‘Beautiful’. It is also interesting to hear Hogarth pulling off excellent interpretations of 7 songs from the ‘Fish era’. However, my personal highlights are the ever resplendent ‘Easter’, and the suite of songs drawn from the ‘Brave’ album, especially Kelly’s stunning organ work on ‘Hard as Love’ with the whole band locked and loaded, thundering along magnificently – let’s face it, you cannot go wrong with Marillion live!

The Blu-ray with this package features  beautifully produced surround sound 5.1 versions, which displays Hunter’s skill as a producer but underlies the imagination and skill of a band who can so perfectly combine delicate emotion with passages of great drama and power. If you have the technology the 5.1 version alone is also worth getting this edition.

Additionally this disc has bonus tracks originally available on the 1999 remaster. Whilst the main album is one of the band’s highlights it has to be said that these bonus tracks are somewhat lacking in quality, and include 2 earlier versions of ‘Beautiful’ with other titles. ‘Mirage’ has some interest and the acoustic demo of ‘Afraid of Sunlight’ is rather a gem, but on the whole these extra tracks are hardly essential. Similarly, the ‘Jams and Early Versions’ are curiosities which lay bare the creative processes as the band jams new ideas for Dave Meegan to capture. They are raw pieces and are interesting to hear, but it is doubtful that anyone apart from ‘Uber Fans’ will ever listen to these tracks more than a couple of times at most… but as we know Marillion are not short of ‘Uber Fans’!! 

Conversely, what is of far more interest on the Blu-ray is the 45 minute documentary film which features all the band members with fascinating insights in to how the band felt at the time when recording this album. What is clear is the unshakeable faith Marillion had in themselves as artists, even if their label were losing faith in them. History has shown that Marillion were right to retain that faith as they survived some dark days in the later 90’s to virtually create the crowd funding model and thrive. More crucially they continued to make high class albums borne out of their innate self-confidence, musical imagination and artistic integrity. The mid-90’s period produced  two of their finest ever albums… and this special set presents ‘Afraid of Sunlight’ perfectly.

TRACK LISTING:

CD One – Afraid of Sunlight  (2019 Michael Hunter Re-Mix)

  1. Gazpacho
  2. Cannibal Surf Babe
  3. Beautiful
  4. Afraid of Sunrise
  5. Out of this World
  6. Afraid of Sunlight
  7. Beyond You
  8. King

CD Two – Afraid of Sunlight  (Dave Meegan Original Mix 1995 Mix)

(Same Track Listing as CD One)

CD Three – Live at the Ahoy, Rotterdam  (29th September 1995) (Part 1)

  1. Intro  (Skater’s Waltz
  2. Incommunicado
  3. Hooks in You
  4. Gazpacho
  5. Icon
  6. Beautiful
  7. Hotel Hobbies
  8. White Russian
  9. Easter
  10. Mad
  11. The Opium Den
  12. Hard as Love
  13. The Hollow Man

CD Four – Live at the Ahoy, Rotterdam  (29th September 1995) (Part 2)

  1. Kayleigh
  2. Lavender
  3. Afraid of Sunlight
  4. Cannibal Surf Babe
  5. Cover My Eyes
  6. Slainte Mhath
  7. King
  8. Splintering Heart
  9. No-One Can
  10. The Great Escape
  11. Uninvited Guest
  12. Garden Party

Blu-Ray Disc

 Afraid of Sunlight (2019 Michael Hunter Remix) – 5.1 Audio Version:

  • Same Track listing as CD 

Afraid of Sunlight  (Jams & Early Versions):

  • Ascending Synth Groove
  • Velvet Lawn
  • Building Guitar
  • Band of Gold
  • Gazpacho  (Early Version)
  • Surfer Bass
  • Cannibal Surf  (Early Version)
  • Beautiful  (Early Version)
  • KD Lang
  • Out of this World (Early Version)
  • Afraid of Sunlight (Early Version)
  • Beyond You  (Early Version)
  • Crunchy Guitar Idea
  • Deep Purple Vibe
  • Watery Guitar
  • King (Early Version)
  • Happy Accidents

Documentary Film – Afraid of Sunlight  (Approv 45 Mins)

Promo Film – Beautiful

1999 Remaster Bonus Tracks

  • Icon
  • Live Forever
  • Second Chance
  • Beyond You  (Demo)
  • Cannibal Surf Babe
  • Out of this World
  • Bass Frenzy
  • Mirages  (Demo)
  • Afraid of Sunlight  (Acoustic Demo)

MUSICIANS:

Steve Rothery  –  Guitars 

Pete Trewavas  –  Bass 

Steve Hogarth – Voice

Mark Kelly  –  Keyboards

Ian Moseley  –  Drums & Percussion 

With:

Hannah Stobart  –  Backing Vocals on ‘Beautiful’

Wendy Paige & Barbara Lezmy  –  Backing Vocals on ‘Cannibal Surf Babe’

THANKS

Progradar would like to thank Fraser Marshall of the website: 

‘Marillion – Explanations of Song Elements’  for his permission to refer to his blog about some of the background to the songs. 

Other information is available at:

http://marillionations.blogspot.com/

Marillion With Friends From The Orchestra – Live at The Royal Albert Hall – 18/11/19

“Marillion, that’s that band with that Fish bloke in, did that song called Kayleigh…?”

If you’re a fan of the very long career of UK progressive band Marillion then you’ll have heard that question many a time. They have made it fashionable to be unfashionable in an ever changing industry that rewards the latest thing, in fact they’ve made a successful career out of it.

So then, how is it that a band most people seem to think ceased to exist in the mid 80’s can sell out the holy grail of live venues for two nights? There’s two reasons really, first because of a fan base that revere and love them (almost obsessively, if last night was anything to go by) and, secondly, because they are a live experience that should be on your bucket list!

Having played the RAH two years ago with a six piece orchestra, Marillion have decided to reinvent some of their tracks that they feel fit especially well in that format and are releasing an album (Marillion With Friends From The Orchestra) at the end of this month.

So it made sense to go out on a UK tour to promote the album and play in venues that would give the format some stunning backdrops? Of course it did!

The evening started with a short support set of cleverly crafted singer songwriter material from the talented Harry Pane, whose short but enjoyable acoustic guitar and double bass material was warmly received by the building audience.

Harry Pane

However it was the main event that everybody had come to see and as the six piece orchestra walked on to the stage, followed by the band, the anticipation of the audience could literally be felt.

Marillion launched into an intense version of Gaza with frontman Steve Hogarth prowling the stage like a tormented soul, his on stage persona and antics are always an integral part of the band’s superb live shows.

The light show and backdrop graphics added to the intensity of proceedings as the band played a set littered with their greatest songs, twenty minute plus tracks that flew by leaving the audience at times speechless and at others rapturous and raucous, the alcohol maybe giving vent to some 50 and 60 year old fan’s long years of admiration where normally they would be more reserved.

The orchestra fitted in seamlessly with the strings bringing a euphoric feel to the somber brilliance of Estonia and lifting my all time favourite Marillion track, Season’s End, to incredible new heights, Steve Rothery’s solo bringing a lump to my throat and I’m sure I had something in my eye…

A wonderfully theatrical version of The New Kings from the band’s latest album F.E.A.R had the audience hooked on every word, engrossed as Hogarth led us through the mire of the modern world and this was followed by a brilliantly spirited Man of a Thousand Faces that had the audience singing along.

This once in a lifetime experience was finished by a two piece encore starting with a rocking take on Seperated Out with an excerpt from Led Zep’s Kashmir that even had the orchestra rocking out.

Things finally came to a close with an emotive and tumultuous version of long time fan favourite This Strange Engine that ebbed and flowed superbly for over twenty minutes before bringing the house down with heartfelt applause and adulation.

Thirty years on from when Steve Hogarth joined the band, Marillion still do things there own way. They did crowd funding before it was fashionable and they put on a live experience like no other. On nights like these they are untouchable to their fans and long may it continue. Now, who’s that Fish bloke…?

18th November 2019

Set List

  1. Gaza
  2. Power
  3. Beyond You
  4. Seasons End
  5. Estonia
  6. A Collection
  7. The New Kings Parts I – IV
  8. Man Of A Thousand Faces
  9. The Space
  10. Encore 1 – Separated Out
  11. Encore 2 – This Strange Engine

Live Review – Marillion at York Barbican 22nd April 2018 – by Progradar

“Play Seasons End, play Seasons End, please.play.Seasons.End…Fuck, they’re playing Seasons End!!”

And that, my friends, made what was already an incredible, emotive and stunning gig by one of my all time favourite bands the best gig I’ve ever been to. Yes, it was that bloody good!

Now I know I’m a lucky sod, I get to go to all sorts of live music events for free just because I write (hopefully, pretty well) about them but this was something different. I’d gone with one of my oldest friends (and a Marillion gig virgin) and we were meeting my great friend Iain Sloan of Wynntown Marshals and Abel Ganz fame (to name but two!), who had made the long journey down from North of the border, for a quiet beer or two before the show (see picture above).

York Barbican is a great venue, quite intimate while also having a very decent capacity and brilliant sound. This created a suitably intense atmosphere as the crowd built awaiting the support act Roxanne de Bastion. This talented singer/songwriter came on to a big round of applause from an already three quarters full venue.

Roxanne had broken her left ankle before the tour began but took it all in her stride as she sang her haunting and beguiling songs with more than a flavour of roots music to them. With stories garnered from personal experience she managed to keep the attention of the crowd and her voice and pared back, simple guitar and piano playing were pretty impressive. The only issue for me being that she did look slightly out place on her own in what is quite a big venue, not that this affected her performing in any way. As an appetite whetter before the main event, I was very impressed and this gifted musician is one I will be seeking out in the future.

A quick nip back to the bar to re-imbibe before the anticipated brilliance of Marillion

A dynamic and powerful opening salvo of El Dorado got the crowd going immediately and you sensed that the band were on good form as an ebullient Steve Hogarth prowled around the stage, his animated delivery a real highlight. This was immediately followed by a seriously compelling version of Power that had electricity sparking around the venue, Steve Rothery’s superb guitar playing making the hairs on the back of my neck rise, you just knew tonight was going to be a mesmerising experience.

All of the band were playing with fluidity and an almost carefree attitude, perhaps it was because it was the last night of the tour but, for me, they were putting all of their heart and soul into every note and every word.

Captivating versions of Quartz and The Party followed as the band went through their repertoire of carefully chosen tracks from over 30 years of making emotionally charged music and the adoring audience lapped it all up. It was like being in the middle of a cult but a wonderfully civilised one. There were standing ovations at the end of every track, Marillion could do no wrong tonight…

And then they played bloody Seasons End…What a spine-tingling, jaw dropping eight minutes that was, one of my favourite all time songs played by one of my all time favourite bands and with a guitar solo that soared to the heavens and was so full of emotion that I was lost in reverie. After the rapturous applause had died down Marillion delivered a thunderous performance of Living In Fear, the second track from current album ‘F.E.A.R’, one that seems to have given the band a new lease of life and attracted quite a few new followers to these veterans of the progressive scene.

The setlist took a ninety degree turn next as a band full of the confidence of a succesfull tour traded banter with the appreciative audience, Steve Hogarth asking Mark Kelly if they could swap Out of This World for a fan suggested White Paper and, to the cheers of the audience, they did! There was a real warmth and humour evident throughout the evening, the band were relaxed and obviously enjoying themselves and that came through in the performance.

A stirring rendition of The Leavers followed by Wave and Mad ramped the atmosphere through the roof, here is a band at the height of their not inconsiderable musical powers, Pete Trewavas bouncing around the stage and engaging in some gentle banter with Hogarth while Ian Mosley was an animated demon behind the drum kit, as ‘h’ would say, a bloody impressive pub band indeed!!

The set was completed by a blistering Afraid of Sunlight and a truly emotive performance of perennial fan favourite The Great Escape that surely had more than just a few eyes moist. At the end of every track virtually the whole theatre were on their feet cheering and clapping, just lost in the wonderful moment.

You know when the band leave the stage that there is going to be an encore and what an encore it was, a poignant and evocative Easter which contained possibly Rothers’ most impassioned solo ever and then a reverently received version of Sugar Mice that left the audience emotionally charged.

At this point I left, hoping to avoid the crowds but the opening notes of Garden Party had me rushing back in to the side of the stage to experience what was a group of friends enjoying themselves and playing music that they truly love, it was just magnificent!!

This time the crowd really did go wild…

So, there you have it, Marillion live at York Barbican, music really has the power to move you and bring a lasting joy to your heart and soul and, on this night, I had my most special musical epiphany ever and it just doesn’t get any better than that.

 

New video for ‘I Don’t Know Why’ by KINO featuring Pete Trewavas, John Mitchell and Craig Blundell

Kino are set to release their new album ‘Radio Voltaire’ on March 23rd, 2018, arriving 13 years after the band’s much-loved debut ‘Picture’ back in 2005. It sees John Mitchell (It Bites, Lonely Robot) & Pete Trewavas (Marillion) teaming up once more, with Craig Blundell (Steven Wilson) on drums & John Beck (It Bites) guesting on keyboards.

Yesterday saw the release of the third and final track to be taken from the album prior to release, titled ‘I Don’t Know Why’:

Pete Trewavas comments: “This is a kind of Jellyfish/Queen inspired song which I wrote just towards the end of the first Kino album sessions. It was just too late to be on the record but I remember playing it to John Mitchell while we were at his finishing off the ‘Picture’ album. At the time I expected it to be on the second album, which never happened until all these years later.”

The album will be available on Limited CD Digipak (including bonus tracks), Gatefold 180g Double Vinyl (incl. CD) & Digital Download. Digital pre-orders on iTunes and Amazon receive ‘The Dead Club’ immediately. Pre-order now here: www.insideoutmusicshop.com

ecorded at the end of 2017, writing began at the end of that Summer. “We actually began the writing process in late August” says John Mitchell. “Pete had a few tunes and so did I, and we went from there.” Mitchell and Trewavas were both a crucial part of the original band more than a decade ago, with the former providing lead vocals and guitar parts, while the latter played his trademark bass lines and also contributed backing vocals.

Keyboard player John Beck, who is also a bandmate of Mitchell’s in It Bites, has been brought back. But while he was fully involved on the debut album, this time his role is that of a guest musician. “Yes, I am delighted to say we’ve gone John on board. His keyboard playing is splattered throughout the album, and I’ve also done the odd keyboard part myself.” The task of drummer this time fell to Craig Blundell, as Mitchell explains: “This time around Craig was the obvious choice to be the drummer, as far as I was concerned. I have worked with him so much that there was nobody else in the frame.”

Of the albums direction, Mitchell illustrates: “The title sounds very cool and obviously there’s a connection with the band Cabaret Voltaire. But Voltaire himself (the 18th century French philosopher) had a fascination with death, which appealed to me. He also stood for freedom of speech and freedom of religion. On top of that, I love the idea of a radio station that would reflect his views on life and cut through the bullshit which seems to be all over politics. Now, that is the type of radio station I think would reflect what a lot of us want to hear.”

The album cover has been designed by Paul Tippett, who is one of the most in demand artists of the modern era. “I like what he’s done with this sleeve. It reminds me of Moulin Rouge meets ‘Live And Let Die’. It is very striking, and I am sure everyone will have their own interpretation of what it reminds them of.”

The tracklisting can be found below:

1.Radio Voltaire
2.The Dead Club
3.Idlewild
4.I Don’t Know Why
5.I Won’t Break So Easily Any More
6.Temple Tudor
7.Out of Time
8.Warmth of the Sun
9.Grey Shapes on Concrete Fields
10.Keep The Faith
11.The Silent Fighter Pilot

Bonus Tracks

12.Temple Tudor (Piano Mix)
13.The Dead Club (Berlin Headquarter Mix)
14.Keep The Faith (Orchestral Mix)
15.The Kino Funfair

Review – Kino – Radio Voltaire – by Kevin Thompson

Thirteen years ago Kino opened the doors and eager fans flocked to the blockbuster ‘Picture’.

Starring a stalwart cast of Trewavas, Mitchell, Beck and Maitland, much was expected. Fans and critics alike gave the collaboration a warm reception and they toured venues with Spock’s Beard.

One may have expected to see this Super-group follow up their success with a ‘part 2’, or a ‘return of’, individual commitments permitting, but it all went quiet.

The projectors stopped rolling and the doors closed. Dust settled on the red velour seats, whilst spiders built webs across discarded popcorn containers and their remaining contents long since dried and adhered to the now moth eaten carpeted steps. The lights went out, the drinks machines dried up and a distinct musty hot dog scent drifted on the dust motes, floating across the sunbeams coming through the smeared window panes of the foyer.

Nothing in the last 13 years, barring a vinyl release of ‘Picture’, until, out of hibernation they emerge with new offering ‘Radio Voltaire’.

So what to expect, most of the original cast are back, starring John Mitchell (Lead Vocals/Guitar) and Pete Trewavas (Bass/Backing Vocals) with special guest appearance from John Beck (keyboards) along with a co-starring role for Craig Blundell on the drum stool, replacing Chris Maitland who had in reality already left the band before the release of ‘Picture’ due to other commitments.

But this is a somewhat different affair to the first album and was a far shorter gestation period in the making, with the main driving forces being Trewavas and Mitchell (who also produced, coordinated and organised everything). Having been ready to start work on a further Lonely Robot album, it was suggested by Inside Out that Mitchell might consider the idea of a new Kino album and after a fruitful meeting with Trewavas unearthed the fact they both already had some material between them, they completed the writing process in August 2017. The recording process ran smoothly and was completed over the final two months of  last year.

Will this album bring them back into the spotlights again and reintroduce the glitz and glamour of yesteryear to become another cinematic offering to great applause, or will it be confined to the bargain bins with lacklustre ‘B’ movies, as the ravages of time dealt their scorn and indifference?

With a striking album cover design from in demand artist Paul Tippet we’re off to a good start, let’s see. The lights go down, the curtain opens and the silent motion of the digital projection hits the screen…

A crackling German 1920’s radio announcement for Radio Voltaire the title track, preceding John Beck’s swirling keyboards before guitar punches from the gramophone speakers, settling into John Mitchell’s familiar voice building harmoniously on driving rhythms from Messrs Trewavas and Blundell, to epic guitar swashbuckling from Mitchell in his own inimitable style, as scene one fades in the echo of sonar.

Dusty German voices (must get the stylus cleaned) introduce the plunking keys of first single, The Dead Club, as heavy driving guitars and ‘spacey’ swirly knob/key twiddling projects into our ears as this scene races along, spewing PopProg fuel in it’s wake. Building into an edgy musical storm before the repeated track title from John 1 concludes with John 2 stabbing furiously at those terrified keys and we are blasted off track from a ray-gun synth. Kino are flying.

Gentle, haunting keys from the fingers of John Beck break the pace as John Mitchell pitches the emotional vocals and beautiful lyrics of Idlewild perfectly. Swelling gradually, it comfortingly fills all your instrumental emotions as you sit transfixed on the ballad playing out on the screen, dabbing at the corner of your eyes.

A pastiche of 70’s classic rock influences abound on track 4 which, without the guidance of our illustrious Director in Charge, Mr Mitchell could easily have fallen into a derivative mess. I Don’t Know Why anyone could possibly think this fabulously talented quartet wouldn’t pull it off, as they are all performing at the top of their game, adding just the right touches to keep it a refreshing, glittering smile and wink homage.

 We are returned to a twenties, cobwebbed vocal/piano introduction (where is that needle brush?) which is suddenly robbed by a cheeky riff on The Who’s ‘Won’t Get Fooled Again’ from Mr Beck, as JM tells us I Won’t Break So Easily Any More. Blazing guitar work, throbbing bass and  thundering drums between only slightly restrained verses, with a nod to a MMEB keyboard style, are all rolled into a perfect Kino energy bar.

A Baroque style, acoustic guitar and piano riff dance balletically round Temple Tudor castles,  as the wistful lyrics are delivered with honest emotion, crafted beautifully.

The ticking clock with ringing alarm bell, breaks us from our reveries as we are rocked into a warning of our own mortality spanning genres and tempos as we are advised we are running Out Of Time. Pete Trewavas and Craig Blundell shine and glisten like polished glass, as they blend in and out of each other. The commanding bass rhythms are splashed with drops of time signatured percussion that leave you hanging on the edge of your seat wishing it would never end. Anyone who knows me is aware I am not a great lover of jazz, so believe me when I tell you this is a delicious feast for the ears.

Relax in hazy summer keys and soft wispy clouds of vocals as they float above us in the Warmth Of The Sun basking in this soothing moment of relaxation.

Craig Blundell‘s percussive patterns navigate us back on board for the ride around Grey Shapes on Concrete Fields changing tempo and showcasing his phenomenal mastery with panache. Driven with keys, guitars and vocals on a race, hitting a breathless abrupt end, that comes all too soon for me. You just want tracks like this to never end.

If there is to be a ‘B’ movie actor on this award hunting album, it would be this track for me though I should Keep the Faith. There is nothing inherently wrong with the music or vocals, but it treads water after the fire of the previous track and the relaxing interlude before it. As the penultimate track it applies the brakes as we had just begun to press the accelerator down the finishing straight.

All is forgotten as the The Silent Fighter Pilot, flies into view for our final foray across the silver-screen, engines roaring defiance as it passes overhead. Telling the the story of a fighter pilot giving his life, through John Mitchell‘s embittered vocals with his raging guitar showering notes like bullets of vengeance. Struck by the futility of war, a fatal blow that sees the track spiral out of control to it’s tragic demise, in a haunting memory.

I’m struck silent for a minute and the Wow!

Wow! Wow! WOW!

‘Radio Voltaire’ is a must buy for anyone who liked ‘Picture’, who rate anything the band members have produced in the past, in fact all lovers of Prog music at it’s most sublime.

Everyone performs like their lives depend on it, with a joyous freedom to explore, whilst keeping the Kino sound they have built, but expanding the experience to ear busting IMAX levels.

I declare this cinema well and truly open for business and suggest getting your tickets booked, this could attract a full house, night after night.

Released 23rd March 2018

Order ‘Radio Voltaire’ from Burning Shed

 

Marillion Release Live DVD – All One Tonight on 2nd April – Live Screenings at 6 Everyman Cinemas on 26th March

2nd March 2018 – On 2nd April Marillion release ALL ONE TONIGHT the live DVD of their Royal Albert Hall Show filmed in October 2017. On 26th March, there will be screenings of the show in 6 Everyman Cinemas across the UK. Marillion will host the screening at the Kings Cross Everyman. Tickets available from:

www.everymancinema.com/film-info/marillion-live-at-the-royal-albert-hall#scroll

On October 13 2017 Marillion played the Royal Albert Hall for the first time in their near forty year career. The show sold out in minutes, a full year before the band took to the stage at the iconic London venue. The audience, many of whom had travelled over oceans for the show, were treated to a Marillion show like no other.

In two parts, ‘All One Tonight’ firstly showcases the band’s acclaimed 2016 studio album ‘F E A R’ in full. Accompanied by an awe inspiring light show and films, Marillion perform their incisive and era defining zeitgeist with unparalleled passion and power.

The second half introduces In Praise of Folly and guests, a string quartet with flute and French horn that throughout the rest of the show inject an extra depth and emotion to some of Marillion’s best loved live material. Once again, with amazing lights and audience participation, Marillion steal the night, proving that they more than belong on the stage that has been trod by the most acclaimed musicians. Directed and edited by Tim Sidwell, recorded and mixed by Michael Hunter, ‘All One Tonight’ is a Racket Records and Toward Infinity production.

Marillion embark on their UK tour on 8th April.
FULL 2018 Tour Dates are:-

Date City Venue

Sun 8th April Belfast Ulster Hall – NEW DATE
Mon 9th April Dublin Vicar Street – NEW DATE
Wed 11th April Gateshead The Sage – last few tickets available
Fri 13th April Cambridge Corn Exchange – SOLD-OUT
Sat 14th April Birmingham Symphony Hall – SOLD-OUT
Mon 16th April Brighton Dome – last few tickets available
Tue 17th April  Bristol Colston Hall – SOLD-OUT
Thu 19th April Reading Hexagon – SOLD-OUT
Fri 20th April Liverpool Philharmonic Hall – SOLD-OUT
Sun 22nd April York Barbican – NEW DATE

 

Tickets available from myticket.co.uk, seetickets.com & venue box offices.

 

KINO return with new album Radio Voltaire; 13 years after their debut

Kino have announced the release of their new album ‘Radio Voltaire’, arriving 13 years after the band’s much-loved debut ‘Picture’ back in 2005. Out on March 23rd,  2018, it sees John Mitchell (It Bites, Lonely Robot) & Pete Trewavas (Marillion) teaming up once more, with Craig Blundell (Steven Wilson) on drums & John Beck (It Bites) guesting on keyboards.

Recorded at the end of 2017, writing began at the end of that Summer. “We actually began the writing process in late August” says John Mitchell“Pete had a few tunes and so did I, and we went from there.” Mitchell and Trewavas were both a crucial part of the original band more than a decade ago, with the former providing lead vocals and guitar parts, while the latter played his trademark bass lines and also contributed backing vocals.

Keyboard player John Beck, who is also a bandmate of Mitchell’s in It Bites, has been brought back. But while he was fully involved on the debut album, this time his role is that of a guest musician. “Yes, I am delighted to say we’ve gone John on board. His keyboard playing is splattered throughout the album, and I’ve also done the odd keyboard part myself.” The task of drummer this time fell to Craig Blundell, as Mitchell explains: “This time around Craig was the obvious choice to be the drummer, as far as I was concerned. I have worked with him so much that there was nobody else in the frame.”

Of the albums direction, Mitchell illustrates: “The title sounds very cool and obviously there’s a connection with the band Cabaret Voltaire. But Voltaire himself (the 18th century French philosopher) had a fascination with death, which appealed to me. He also stood for freedom of speech and freedom of religion. On top of that, I love the idea of a radio station that would reflect his views on life and cut through the bullshit which seems to be all over politics. Now, that is the type of radio station I think would reflect what a lot of us want to hear.”

The album cover has been designed by Paul Tippett, who is one of the most in demand artists of the modern era. “I like what he’s done with this sleeve. It reminds me of Moulin Rouge meets ‘Live And Let Die’. It is very striking, and I am sure everyone will have their own interpretation of what it reminds them of.”

The album will be available on Limited CD Digipak (including bonus tracks), Jewel Case CD, Gatefold 180g Double Vinyl (incl. CD) & Digital Download.

The tracklisting can be found below:

1.Radio Voltaire
2.The Dead Club
3.Idlewild
4.I Don’t Know Why
5.I Won’t Break So Easily Any More
6.Temple Tudor
7.Out of Time
8.Warmth of the Sun
9.Grey Shapes on Concrete Fields
10.Keep The Faith
11.The Silent Fighter Pilot

Bonus Tracks

12.Temple Tudor (Piano Mix)
13.The Dead Club (Berlin Headquarter Mix)
14.Keep The Faith (Orchestral Mix)
15.The Kino Funfair