Marillion Album: “Anoraknophobia”

The question is how to market this album? A reviewer who only listens once may not get the whole picture, but you can't just say, "Don't write your review until you've listened to this album continuously for a week." The thing is, a Marillion album is a lifelong commitment, not a fad of the month, and these things grow into who you are and affect you profoundly. How do you market that in today's pop music world?

This is definitely one of Marillion's 3 best albums. In fact, every 4th album has been, and it shares quite a bit with "Clutching at Straws" and "Afraid of Sunlight." Both those albums really did sound quite different from what had come before, not just from Marillion but anyone. Not that they were earth-shattering, they were clearly progressive-tinged rock, but there's something about song structures and arrangements that set them apart.

Anoraknophobia continues in this tradition. The songs aren't like what you've heard before (except possibly for "Map of the World" but the aforementioned Marillion albums had their pop song too.) I mean, listen to "Quartz"--it's basically the perfect Marillion song while being something that they've never pulled off--the 9 minutes fly by, you're brought through a host of emotions, and at the end you've been communicated to. I've also gotten into "When I Meet God"--the first 5 minutes are a perfect pop single, but the song is made by the ending, and all of it is necessary. Songs like "Separated Out" and "If My Heart Were A Ball it Would Roll Uphill" are rockers the best the band has ever written, with some extended passages that if, say, the Dave Matthews Band had done, critics would be praising for the free-form jamming they got down. Even the full-on rocker "Between You And Me" has enough twists and turns to keep many die-hard proggers happy, with enough pop to please a U2 fan.

A side note on song length. The best long songs aren't long. Examples are Yes' "Close To The Edge", and any epic from Marillion (yes, even "Grendel", but especially "This Strange Engine" and "Interior Lulu") They take time to explore musical ideas. Instead of hitting you over the head and finishing with you quickly, they weave together themes, revisit sounds, and create a whole sonic experience. Yeah, on first listen you're not going to pick up on that, but on every long song on this album, there is that effect. Perhaps that's why it takes some time to get in to the album--your brain has to identify those patterns and be able to understand them. Marillion has created an album of 6 to 9 minute pop songs. Now, that's going to bother those of you who think pop songs are 3 to 4 minutes, but you're missing out if you don't give this longer format a chance. The "epic" of the album, "This is the 21st Century," is 11 minutes of trancelike sounds that tell us where we are right now, and where we might be going; reconciling the mystical with the technological.

So, yes, this is a masterpiece, truly a new way of thinking for the band, that doesn't abandon where they've come from. I mean, I'm sure some fans didn't like "Clutching" when it came out, but most of us now seem to think it's one of the most perfect albums ever, by any band. I think time will show out Anoraknophobia the same way. Yeah, I liked com and Radiation, and I just relistened to "TSE" in a whole new light, but A12a stands as the best of the post-EMI albums (although I guess it's not really a post-EMI album.)

And I really want to see it live. I know the band will do what they can to get to the US, but I also know they won't go broke trying. Mark's comment that the band isn't rich really rang true--I mean, just run the numbers. The band raised 100,000 pounds on the pre-orders--but they not only have to pay themselves, but the staff (4 or 5 people now?), they had to pay a producer, and they may own the Racket Club but they still need to buy gear and minidiscs and power. They're not dealing with millions here, certainly not after expenses. We should all be thankful they seem to be making enough to be able to afford to keep doing it, and doing it well, but you don't need to see the ledger books to figure out they're not getting filthy rich from it. Here's hoping the buzz on this album is good enough to support a US tour. Here's hoping you buy it.

This is a fresh new album, with some great songs. At the same time Marillion took a great step from the previous albums. This shows that the band is making progress, instead of repeating itself. Progfans may hate this progress, but others may fall in love with this album.

Relentlessly panned in the '80s for sounding like '70s-era Genesis, Marillion now must endure never-ending comparisons to - of all groups - themselves. As brilliant as Misplaced Childhood, Clutching at Straws, and Afraid of Sunlight were, the members of Marillion are smart enough to know that they must continue to evolve in order to keep things fresh for their die-hard fans, prospective fans and each other. That said, I think Anoraknophobia is a brave step in the right direction.

From the solid pop-rock radiance of "Between You and Me" to the progressive stylings of "When I Meet God" to the hauntingly romantic "This is the 21st Century," this album offers a respectable variety of moods and grooves. While some fans may cringe whenever Marillion explore their fun, upbeat side (which they rarely do), I personally applaud their efforts to shed some light on things. Let's be honest - over the past twenty years they've created some musical moments that make Robert Smith sound like Donny Osmond.

If you're looking to satisfy your craving for 20-minute instrumental excursions and tunes with multiple time signature changes, I recommend you listen to Brave, This Strange Engine, Fugazi, or any Dream Theater album. If you're ready to accept the fact that successful groups change over time, Anoraknophobia will surely grow on you.

One of the worst tragedies that exists in popular music is that an artist or group becomes a casualty of misconception by the public because of their name. Association with the past is the unfortunate norm that exists in life, for people usually form an opinion of you based on what you did yesterday as opposed to what your intentions are today. Reputations are often impossible to shed once the prejudice the public harbors toward you takes hold. Marillion may very well be the finest example of such a group. Too many people associate them with the records they released in the 80's, all of which were very good, two of them (Misplaced Childhood and Clutching At Straws) brilliant. The problem was, as soon as they were successfully building a modest following outside of their native UK (where they were already very successful), all chances for further growth were lost when original singer/lyricist Fish departed for a solo career amidst tumultuous circumstances. Mostly to blame were the pressures of fame, which he did not handle well. With his departure, some believed Marillion actually ceased to exist. This was and was not true, for an evolution was slowly taking place with new vocalist Steve Hogarth at the helm. The public appeared to want the "same-old, same-old" as record sales dwindled over the next several years, seemingly dissatisfied with the direction the band was taking toward the "mainstream". The strange irony in this was, that during the first half of the 90's, Marillion was creating albums highly regarded as masterpieces (95's Afraid Of Sunlight, especially) by those who really knew better: the fans who stayed loyal. The music may have played slightly closer to the "mainstream", but actually displayed a penchant for constant reinvention of the band's sound. The songs wove modern influences and trends with Marillion's own signature neo-progressive elements into new music that was always fresh and original. Yet a strange dichotomy still existed: Marillion was and was not who they were. The question really was: Just WHO are they? The answer to that question may never truly be revealed. But if Anoraknophobia, Marillion's 12th studio record, is any indicator, the misconception that has plagued this band for years can finally be put to rest, and for good. Because here, they pull off what could be considered next to impossible: a redefinition and revolution in their sound the likes of anything ever achieved by any act, period. This is not Marillion as ANYONE knows them to be; even the band itself admits this. Such a statement could be construed as risky, especially for a band that does not have an extremely large fan base, and certainly doesn't make a whole lot of money. Which is why this album is so revolutionary. For the first time ever, a recording was "pre-financed" by fans, as opposed to conventional industry practices. This was quite a leap of faith, as nearly 13,000 fans bought the album BEFORE a single note had even been written. This allowed Marillion to gain complete control of their own product and reunite with the producer (Dave Meegan) of their best work (Afraid Of Sunlight). Personally, I was not among those who pre-ordered the album, and I deeply regret that I didn't. If I had to do it all over again, I would not hesitate to order a product so richly rewarding as this. Musically, the thing that could be said about Anoraknophobia is that it is much more diverse in style, and more accessible than past Marillion albums, yet no less ingenious in how the arrangements are all perfectly constructed from different musical themes. Not one single note feels out of place here, nothing is wasted. Never once do you think about the length of the songs (four of them over 9 minutes) when you listen to them, because every moment fits perfectly within the context of the song. If I could be so bold, I would say this is an album any other band could only dream of writing, and if they did, they would stand to make millions. There are songs here that scream for acceptance on radio ("Between You And Me", "Map Of The World") that would be hit singles for any other band, but because of their name, go unrewarded for Marillion. There are songs of unmistakeable beauty, such as the haunting ballad "When I Meet God", and the seductive bluesiness of "The Fruit Of The Wild Rose." And then there are songs that seamlessly combine grace and aggression, beauty and power. These are the dub-reggae groove style of "Quartz", and the trancelike slow house groove of "This Is The 21st Century", which may be the band's best song ever. It builds from graceful atmospheres of hypnotic keyboards, heavily processed guitars, and Hogarth's echoing vocals to a climax featuring Steve Rothery's end guitar solo, which rivals any David Gilmour solo I've ever heard. Equally beautiful and aggressive, it must simply be heard to be believed. My personal favorites right now are "This Is The 21st Century", "When I Meet God", and "Quartz", although every other song is outstanding in its own right. I could sum up my recommendation for Anoraknophobia one way: Last night I played the entire record for my brother, who is not even remotely close to being a Marillion fan. He happened to like it immediately, which just happens to be the entire moral of this story: Buy this record, play it for your friends, especially those who think they know who Marillion is. They will be surprised, as will you.

Ahhh, Marillion. Or is that, Chameleon? The ever changing Marillion has put out yet another album, this one titled Anoraknophobia. My limited experience with this British group has ranged from delirious joy to puzzled indifference. But, when they are on, Fish or Hogarth, they put out killer material. This latest disc is definitely of the killer kind! Their last decade of existence with Steve Hogarth at the helm has seen a range of musical moods from depressing dirges to songs of cautious hope to downright booming stadium rock anthems. Each style has it's own proper place with this very capable and intelligent band. Those who can recall back to the best of the earlier days of Genesis will continue to see parallels as both can tell fascinating and often alarming musical stories. The included transcript of this album's lyrics have the heft and substance of a fine short story. As is usually the case with Hogarth's pen, there is a trademark melancholia in Anoraknophobia but, this not a depressing album. It opens with the stomping, ebullient Between You and Me which could, AND SHOULD, easily get frequent rotation on modern rock oriented radio stations in the United States. It feels much like the driving Uninvited Guest or Hooks In You and will induce similar heel tapping and twitchy guitar fingers. The nine minute Quartz follows beginning the serious storytelling and moody ambiance Marillion is well known for amongst fans and critics. Pete Trewavas' bass line permeates this epic song about the frustrations of a relationship gone sour and stressful. When I Meet God has overtones of Fish's liquid laments over situations beyond one's control. Good old guitars and drums make Separated Out another fine cut. This Is the 21st Century explores some topics that Science as God can't quite fully explain. The final cut is the toughest one to explain with mere words, especially when the title is If My Heart Were A Ball It Would Roll Uphill! Suffice to say that the guitarwork and Steve's vocal inflection here do a much better job than I can. The bottom line for Anoraknophobia is that this album is a true winner, even if you are not one of the band's regular ravenous devotees. It is an album that allows you to relax and drift with the musical ebbs and flows for just over one hour. This is not to suggest that it is easy listening or Top 40. It is more for those who prefer a Pilsner Urquell over a Bud Light. By the way, the multi-colored kid with the coat hanger on the album cover is not Southpark's Kenny. He's Barry, and he likes The Clash...

The bottom line, if you are new to Marillion or have just heard of them, BUY THIS ALBUM, you will not regret it as it will introduce you to a great unknown band that really does deserve your attention! If you are already a Marillion fan, you probably own it already and love it!