Marillion has been formed in Aylesbury in 1979 (Buckinghamshire). The band’s roots lie in post-punk and from there the group bridged towards prog rock. From 1984 to the present, the band consisted of Steve Rothery (guitar), Ian Mosley (drums), Mark Kelly (keyboards) and Pete Trewavas (bass guitar). Singer Steve Hogarth replaced singer Fish in 1987 and is also still a member of the band. Mark Kelly said in 2016: “One of the reasons we still together is because we’re successful enough to make a living, but not successful enough not to have to do anything.”
The group is releasing its first studio album in 1983: ‘Script for a jester’s tear’. 19 others would follow, the last being ‘An hour before it’s dark’ in 2022. Many albums reached the top 10. I selected a limited number of post-1980 albums, and from each I chose songs that exemplify neo-progressive and, in some cases, post-progressive rock. in subsequent posts. I will go into this distinction between the two in more detail. But first a list of characteristics of neo-prog rock. These characteristics differ only gradually from those of ‘prog rock’ as discussed so far.
1. More symphonic approach
2. Shorter songs, even if they consist of more parts.
3. Narrative, theatrical construction with lyrics and vocals full of emotion.
4. More dominant use of synthesisers.
5. In the case of a conceptual approach, greater use of topical and personal themes.
6. Atmosphere is more often melancholic and introspective.
7. Less need to demonstrate virtuosity.
8. Stronger influence from pop music, especially alt-rock.
Script for a jester’s tear (1983)
The title track ‘Script for a jester’s tear’ from this album illustrates the symphonic approach, but also the construction of several songs with different parts, the extensive role of synthesisers and the narrative structure. Especially its emotional lyrics and theatrical vocals set it apart from older prog rock songs. You can listen to it here.
The album also includes ‘He knows, you know….’. Here, too, Fish’s powerful, emotion-rich and theatrical vocals stand out. The lyrics are poetic and full of metaphors. The third track from this album I mention is ‘Chelsea Monday’. This illustrates the use of synthesisers in creating a dreamy and melancholic atmosphere.
Misplaced childhood (1985)
The single ‘Kayleigh’ illustrates that the group certainly does not shy away from shorter ‘poppy’ songs. Nevertheless, the melancholic and emotive vocals and use of keyboards stand out. The song is about a former girlfriend of the singer and the unhappy way the relationship ended. The group’s fame increased significantly after this accessible song. Incidentally, the number of children named Kayleigh also increased. Watch and listen to this song here.
The single ‘Blind curve‘ consists of several parts that together tell the story of a bizarre journey, based on contemporary themes.
Finally, from this album, I mention ‘Lavender‘. The structure and melody of this song are simple; not because the members of the band cannot play complex solos, but because the story comes out better that way.
Clutching at straws (1987)
This album was also successful, especially the song ‘Incommunicado’. Key neo-prog rock characteristics of this song are its narrative nature, layered structure and the influence of 1980s pop music. The recording dates from 1990, when Steve Hogarth already had replaced Fish.
Another track on this album is ‘Sugar mice’ Again, the emotion-rich vocals and melancholic atmosphere evoked using synthesisers, characterise the song as neo-progressive.
After going on one last tour with the band, singer Fish leaves the band due to the stress and fatigue such a tour caused, in return for which there were limited earnings. He opts for a solo career.
During Fish’s time as vocalist, neo-progressive influences predominated. Partly due to the arrival of Steve Hogarth as vocalist, the band increasingly opens to other influences. Some songs are still clearly neo-prog, others are post-prog or alternative in the first place. I will give examples of these. However, the distinction between neo-progressive and post-progressive rock will be discussed in more detail in the following episodes.
Holidays in Eden
The band’s first album with Hogarth was ‘Holidays in Eden’ (1990). This album is heavily influenced by pop, much to the chagrin of hardcore fans. The band went on tour with it, completed at a sold-out Wembley stadium in London. At least in two songs, neo-prog characteristics can be heard: ‘Splintering heart’ and ‘The party’.
Splintering heart’ has an introspective intro that develops into a dramatic climax, which returns to a contemplative and melancholic part. This pattern repeats itself at the end of the song. You can listen to it here:
‘The party’ is an emotionally charged story that far exceeds the character of a pop ballad through its changes of timbres. In this song, prog-rock and alternative rock come close together.
Brave
The group used the whole of 1993 to make a new album, which would become one of the most impressive in its history: ‘Brave’, released in 1994. It is a rich and complex concept album, with longer songs, in which emotion masterfully finds a release. The album can be characterised as neo- and post-progressive. Examples include ‘Bridge’, ‘The great escape’ and the title track ‘Brave’.
The beginning of ‘Bridge’ is almost classic, the story is told against a varying musical backdrop and features a hard rock-like release with accompanying guitar solos. You can listen to it here.
‘The great escape’ is an epic song that can be listened to like as a pop song, but it evokes more atmosphere and commitment in its vocals and instrumentation.
‘Brave‘ is a mostly neo-prog, atmospheric and melodic song, full of synth sound and rhythm changes. You can see a live recording of the song ‘Brave’ (Brave, 1994) here.
‘Afraid of sunlight’
The next album ‘Afraid of sunlight’ (1995) was a lesser commercial success. It contained a remarkable song ‘Out of this world’. The song is about Donald Campbell’s failed attempt to set a speed record with his speedboat. An atmospheric prog rock song that makes abundant use of synthesizers, complemented by Hogarth’s subdued vocals. This song prompted a successful attempt in 2001 to salvage the boat. You can listen to a 2008 recording here.
Another song that qualifies as neo prog-rock is ‘King’ which poignantly sings of the destructive influence of fame. The ‘poppy’ melody is wrapped in a sea of sounds that highlights destruction and transience with an overwhelmingly bombastic ending.
The band was not destitute, but the resources to invest in new tours or in developing a new album were lacking. Towards the end of the 20ste century, fans began to play an increasing role in financing the band. For instance, they raise the funds to enable a US tour and to promote the new album ‘This strange machine’ (1997). Later, they are willing to pre-order albums even before these are made. The band’s next step is organising holiday camps, worldwide. Fans are invited to a three-day stay during which they can attend three concerts. In February 2007, the first ‘Marillion weekend’ took place abroad, namely at Center Parcs, Port Zélande in the Netherlands.
Marbles (2004) was another successful album, to be classified as (post) progressive rock. ‘You’re gone’ and ‘Don’t hurt yourself’ have a solid dose of pop. ‘Neverland’ and ‘Fantastic place’ are closest to the neo-progressive period. The first because of its dramatic tension and the second because of the melancholic atmosphere it evokes. You can hear the second song here.
In 2009, the group released an acoustic album, ‘Less is more’. This consisted largely of older songs. You can listen to ‘This train is my live’ and ‘Anniversary‘.
I am now making a leap in time. During this period, the band produced a few more albums, toured regularly and the members worked on a few solo projects. A show at London’s Royal Albert Hall in 2018 sold out within four minutes. A film was made of the performance: ‘All One Tonight – Live at the Royal Albert Hall’. You can watch ‘White Paper’ here.
The band’s most recent album is ‘An hour before it’s dark’ (1922) The album is post-progressive and focused on current themes. Two examples are ‘Be hard on yourself‘ – an outspoken climate protest song – and ‘Care‘. Of the first song, the beat changes and tension building stand out. The second is atmospheric and contains a compelling melody
The music press in the UK always left the band loopy and wrote about them smugly, as if the band’s members were “prog rock dinosaurs”. Music by Marillion was rarely broadcasted on radio and TV appearances were scarce too. In contrast, the hard core of fans called ‘the Freaks’ have been and supported the band in many ways. Much recognition for the band also exists in the ‘Progressive rock community’. At the ‘2017 Progressive Music Awards’ ceremony, the band was voted ‘UK Band of the year’.
Music: Listen, Look and Enjoy 