earMUSIC is delighted to announce the release of the brand new Marillion album ‘FEAR’ [‘Fuck Everyone And Run’] on 23 September 2016. The album will be available on SuperAudio-CD DigiPak [strictly limited to the first run], CD JewelCase, LP and Digital formats. This, the band’s eighteenth studio album, features 5 brand new tracks and the feeling within the band themselves is that they may well have produced their best ever work. Marillion has certainly not mellowed with age; the album artwork shows the acronym ‘FEAR’ embossed on a gold ingot, and the songs themselves bear the hallmark of true quality.
Best of Both Worlds is a two-disc compilation album by British neo-progressive rock band Marillion released in 1997 by EMI Records, who the band had been signed to from their debut in 1982 until being dropped in 1995. The title refers to Marillion's two distinct "eras" with lead singers Fish (1980—1988) and Steve Hogarth (since 1989). By the time this compilation was released, both line-ups had recorded four studio albums each. The second best-of since the 14-track one-disc compilation A Singles Collection (known as Six of One, Half a Dozen of the Other in the US) from 1992, this one additionally contains material from Brave (1994) and Afraid of Sunlight (1996).
It was filmed in the lead up to their 2015 Marillion Weekend at Port Zelande, the Netherlands, in March where they played three sets and performed 2001 album Anoraknophobia and 2004’s Marbles in their entirety…
Seasons End was the first album recorded by Marillion after the split with Fish in late 1988. The band started to audition singers while writing the new album, and they eventually chose Steve Hogarth. The music for Seasons End was mostly finished by the time Hogarth joined Marillion, and only a couple of songs on it actually have some pieces written by him, most notably "Easter" and "The Space". A number of the lyrics were written by John Helmer, who the band had commissioned before Hogarth joining. He would continue to contribute lyrics throughout the 1990s. Much of the music on Seasons End had been composed while Fish was still in the band. The bonus disc of the 1999 re-issue of Clutching at Straws contains a number of nascent versions of songs that would end up on Seasons End with vocals and lyrics by Fish, these demos having been produced during the writing sessions for the ill-fated fifth studio album with Fish. (A number of the lyrical concepts from these demos, such as The Voice In the Crowd, would later resurface on Fish's debut studio album, Vigil In a Wilderness of Mirrors.) The album was produced jointly by Marillion and Nick Davis (who would go on to work with Genesis and associated acts).
Brief Encounter is the title of a compilation EP by Marillion with two studio and three live tracks that EMI's American label Capitol Records released there in 1986, coinciding with the band's tour of the U.S. and Canada that year. The band was Rush's support act on the Power Windows tour and also played headline gigs at smaller theatres. The "mini album" contained five tracks: the band's European breakthrough single "Kayleigh" (which had also entered the lower reaches of the Billboard Hot 100); its b-side "Lady Nina"; "Freaks", released in Europe as the b-side of the follow-up single "Lavender"; and live recordings of the first two albums' title tracks, Fugazi (1984) and Script for a Jester's Tear (1984).
Featuring the best material from their first two albums as well as their classic debut single "Market Square Heroes," 1984's Real to Reel is an excellent live document of Marillion, the undisputed leaders of the short-lived mid-'80s progressive rock revival. In fact, these recordings make a strong case for the many fans who actually prefer the band's more refined live versions over their rather flat studio counterparts. For the uninitiated, Marillion basically picks up where Peter Gabriel-era Genesis left off, writing complex, multifaceted, and unashamedly overblown compositions topped with dense, often incomprehensible lyrics from vocalist Fish. Thematically, the darkly ironic "Assassing" and the flippant "Garden Party" are complete polar opposites and clearly display the band's incredible creative scope. But the album's centerpiece has to be the dramatic, ten-minute war chronicle "Forgotten Sons." The CD reissue also features an excellent bonus track titled "Emerald Lies." ~ Eduardo Rivadavia. Allmusic.com
The early 1980s was perhaps the worst time in musical history to be a prog-rock band, much less to start a new one, but that's just what the hardy souls in Marillion did. Little could anyone have imagined that they'd set off a whole wave of "neo-prog" in the UK. At a time when synth-pop was all the rage, and unassuming ditties ruled the charts, Marillion's debut album, SCRIPT FOR A JESTER'S TEAR nodded proudly to such ambitious forebears as Pink Floyd and Peter Gabriel-era Genesis. Lead vocalist Fish, in fact, bore an uncanny sonic similarity to Gabriel, a fact that his penchant for onstage theatrics did little to discourage. In turn, the rest of the band offered a '70s-flavored blend of Floyd/Camel-like melodic guitar lines, Rick Wakeman-with-an-attitude multi-keyboard cascades, and odd-metered rhythms.
If that was the whole story, Marillion would have been written off as mere revivalists. The real spark of SCRIPT lies in the fact that it filtered these influenced through a sense of urgency and concision that could only have come from living through the post-punk era. In fact, many of Fish's lyrical themes were concerned with skewering the upper classes in a manner not dissimilar to the likes of Ian Dury or any Thatcher-hating New Waver of the era. Prog was born anew with SCRIPT, and it had a chip on its shoulder.
Re-issue contains a bonus disc featuring album tracks, B sides, studio takes & demos.