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As usual, if you're from anywhere else
but America, this review will probably be a sermon to the converted.
But if you're here in the states, then God-damn it listen up!
There's a cloud coming in from the East -- from England. It's
"Radiation," something we've all come to fear -- but
this time it's something we should all embrace.
Have I lost my mind? Nope. This radiation
isn't the by-product of Nuclear Test Ban violation -- this "Radiation"
is Marillion's tenth studio album! I could go on with these cheesy
cliches all day, but let me just throw one more at you, because
if you give this one a chance, "Radiation" will blow
you away!
Steve Hogarth, Pete Trewavas, Ian Mosely,
Mark Kelly and Steve Rothery have done it again. With six albums
under their collective belt since Fish left the band in the late
'80's, Marillion has once again broken new ground -- scaled new
heights -- but somehow kept that familiar vibe that the Freaks
have come to know and love. "Radiation,' on average, is
a whole lot grittier and in-your-face than most fans might expect.
But Hogarth's lyrics still scream genius and the tightness and
maturity of the band has never been more self-evident than in
this latest release. There's a balance between songs so full
of energy as to be custom-made for the live show and darker,
quieter ballads that seem too personal for public consumption,
let alone live performance. And then there's an air of experimentation
-- with sampled sounds as well as instrumentation -- that brings
things into a whole different -- and much more surreal -- light.
"Radiation starts with a bang, or
a whole bunch of bangs and a God-awful scream. After a few listens
it becomes clear that the few seconds of opening discord is actually
a montage of several songs, all thrown together, but it's up
to you to figure out which ones. When the dust clears from this
cacophonous beginning, Hogarth's distorted voice floats over
the top of an acoustic guitar as he lays the groundwork for the
"Under the Sun." Here is a perfect example of how H.
manages to raise awareness of social issues (global warming in
this instance), but with a bit of a sense of humor rather than
heavy rhetoric and condescending I-told-you-so's:
"The hole in the ozone layer,
it's all right by me.
Makes England warmer in the summer."
The distortion makes this track sound like
an old 78 RPM record.
"Under The Sun" blows the roof
off of any perceptions you might have after listening to the
first minute or two of this album. THIS is the single that could
put Marillion on the map here in the States! It's raw, it's heavy
and electric -- "Under the Sun" totally kicks ass!
The message remains:
"The Polar Ice is melting
Suits me fine.
We go to the beach on the Northern Line"
This song has a brilliant hook and an infectious
energy that, in my humble opinion (heh), could shake some life
into the dead! Gone is the orchestral depth in Mark Kelly's synths
-- it's replaced by the kind of Electronica that suits a full-bore
Alterna-Pop. Everything about this song screams "HIT!"
"Answering Machine" continues
with the same hard guitar riffs and digital synth meanderings
as Hogarth relates to us how sometimes it's better to embrace
the fantasy, because reality really does bite. In this case,
it's easier to talk on the answering machine than it is to meet
face-to-face.
My absolute favorite "Radiation"
track is "Three Minute Boy." Steve Hogarth's lyrics
shine in this story of a man who dreams of fame, grabs it and
then becomes crushed by it. It's a story that elicits memories
of people like Cobain, Farley, Belushi and a list of others that's
far, far too long. The story, as H. lays it out, is as brilliant
as a movie. In much the same way as the title track to "This
Strange Engine" drew me in, almost hypnotically, "Three
Minute Boy" is a lyrical masterpiece not to be missed.
Hogarth said recently that he has suffered
a lot of personal pain of late. "Now She'll Never Know"
may well be a testament to that pain. A song about the agony
of a sorely lost relationship, "Now She'll Never Know"
is another powerfully written song that says volumes in a matter
of only a few words. The hurt and longing nearly bleeds from
this very personal ballad and I am left to wonder if maybe it
might be a bit too personal public consumption. Maybe it's just
a story -- perhaps it's part of the healing process of a truly
lost relationship -- whatever, it's still a powerful song!
"These Chains is the first single
from the album. Though it lacks the commercial kick in the pants
that "Under the Sun" provides, it's still a good song.
It'll be interesting to see how it's received.
"Born to Run" is Marillion's
first shot at the blues. Lyrically, it's the most disjointed
track on "Radiation," but it's so tight musically,
you'd think they've always done it this way! Steve Rothery's
soulful guitar work is a testament to his versatility. I hope
I have the opportunity to watch him do this one live. For my
buck he's still the best live guitarist out there. Nobody gets
into it -- body and soul -- the way Steve does!
"Cathedral Wall" is a spooky,
gothic-sounding tune. Dark and harsh, this one might not sit
well with some fans, because it's just so far from anything else
they've ever done. The discordant harmony of the refrain makes
"Cathedral Wall" all the spookier. It's a cool song,
but the most non-Marillion track I've ever heard them do -- here
is where they chart the most new ground.
"Radiation" is rounded out by
"A Few Words for the Dead." Chock full of strange sounds,
spoke word and instrumental samplings, this is a song that basically
poses a challenge: You can do like your fathers and your father's
fathers did (fight, make war, avenge whatever wrongs you've suffered
at the hand of another), or you can love. Seems like a simple
decision, but history says otherwise. "A few Words for the
Dead" is the longest song on "Radiation" (clocking
in at just over 9 minutes) and is every bit as experimental musically
as "Cathedral Wall" is stylistically.
North American listeners are rewarded with
two bonus tracks on their copies of "Radiation". One
is an acoustic version of "Estonia" and the other is
a funked-up big-beat version of "Memory of Water,"
both from 1997's "This Strange Engine." Both these
versions are worth a listen -- they're considerably different
than the originals.
So "Radiation" is definitely
something you don't want to miss. As a whole, this album steers
Marillion in a whole different direction from which they were
pointed with the last album. More than anything else, "Radiation"
leaves me dieing to find out which way they'll be facing for
the next one! |
