Significant Albums: Marillion - Marbles [Deluxe/Campaign Edition] (2004)

The most recent absolute classic record from Marillion. And it's actually 10 years old this year, which I must be dating myself, because it doesn't feel even close to that long ago it came out.

There's a long list of reasons why this record is so significant to me. Maybe 1st and foremost, when it was released in 2004, it was coming off two good, but not amazing records by a band who I fairly or unfairly, hold maybe at a higher standard than any other given my own personal love and bias towards them. In other words, they were at the time, and still remain my favorite band of all-time.

Anoraknaphobia and Marillion.com are both records I enjoyed at the time and still do, but don't place as highly as many their others. And I would say even going back to This Strange Engine, it had been since Afraid of Sunlight, when they genuinely made a record that I loved every moment of. And I really came to the point of not expecting anything on that level again.

But they did it. They totally did it on this record. And I had done the whole campaign for Anorak, but after that, I just decided to buy this after sampling it.

But this was hit right out of the park. Every track stands out in some way. "The Invisible Man" I loved when I 1st heard it, and still love now. The crescendo is just so infectious and moody. It's one of Steve Hogarth's best vocal performances, and one of the best musical climaxes ever written.

And the scary thing was originally when I bought it in the Summer of 2004, my copy didn't include" Ocean Cloud." I was busy that Summer adoring that track, "Neverland," and "Drilling Holes" among the rest of the record, but the US Edition didn't include "Ocean Cloud," "Genie," "The Damage" and I think one other track. I do recall though having to special order a copy of the cd per either Roadrunner Records or The Electric Fetus, and being extremely pissed off not for the fact it didn't include those tracks, but THE PRICE being like $25 or $30. And I unhappily paid said music store that much for the cd, but could not figure out why it was so bloody expensive.

The explanation is kind of a bad memory and mystery to me still, but my guess is I couldn't find it in retail or figured it would take too long to import. I recall around this time, I wanted-to, but was unable to use my cc or paypal on the Racket Records site. But why I didn't use Amazon or cduniverse (or even Ebay) I guess I may never know. I suppose it may have been the whole import price and time, and I was being impatient wanting the bloody thing asap.

But I would guess it was sometime around July or early August (Mike Portnoy's forum history would likely show it) I saw all the buzz around the extra/campaign edition tracks, I was able to find them eventually and totally got won over. "Ocean Cloud" I eventually grew to like maybe more than "The Invisible Man." The dynamics, and layers, and samples on that song created such a wonderful atmosphere. Pink Floydy in a lot of ways.  It is kind of a melancholy piece lyrically, about a man, possibly who makes his living at sea, not wanting to settle down like most normal people.

"You can take all the boys and the girls in the world
I wouldn't trade them this morning for my sweet Ocean Cloud
I've seen too much of life
So the sea is my wife and a sweet ocean cloud is a mistress I'm allowed
for now."

I know Hogarth has had relationship up and downs, and not every one has worked out for him, So maybe writing about a man retreating to the water, and attaching himself to that environment, it became his way of living. Maybe lonely in some ways, but to him, therapeutic perhaps. I dunno, I've always sort of been taken away by the music more than the lyrics directly. Although I do enjoy when he drops certain things like Barbados and radios. I guess my life being a homebody and someone who hadn't had much if any luck in relationships, I kind of related to some of this. The water or ocean was his sanctuary. I often listen to this song wanting to be lost at sea, but safe and at peace.

"Genie" is another track I adore on this album.  Simple, yet the use of vocal textures is just perfectly captured for the tone. And it has a great climax as well.

I'm scared of everything I am
I'm scared of opening the can
I'm scared of losing who I am
Think I might've taken all I can
I let the genie out of the box

"Drilling Holes" has that wonderful driving, adrenaline infused riff that leads to that calming line "It was just one of those days When the mind strays One of those days When everyone plays." The shifting dynamics and some have mentioned the Beatles influence, stick out among other parts of this track. I also for some reason think of the story Lord of the Flies when listening to this song. Maybe it tells the story of kids playing amongst themselves. The "insects" reference maybe I think of with the insects or *flies* on the island those kids are on.

"Neverland" is probably the most loved tune on this album universally, and I get why. It's really dreamy and almost inspiring. Although I'll admit, I often think of Peter Pan, when I hear it (beyond the title), I have no idea if the band or Hogarth specifically titled it for that Peter Pan reference. The lyric "I want to be someone, someone I want to be" etc, I kind of hear a dream of so many out there, wanting to find themself making a mark on the world. Whether it be famous, or just accomplish something. And it does speak to me and many others in that sense. It also does just stand out as a wonderful closing track, with an infectious flow to it. The whole vocal echoing with Mark Kelly's floating synths just give you an incredibly uplifting feeling. It actually might be a great tune to play at a wedding or awards ceremony or something. I could see an Orchestra totally bringing it to even greater heights actually. It's just 1 of those pieces of music that almost transcends it's original format.

But I cannot also forget so many other parts of this record. "Angelina" is a cool sad/relatable mesmerizing track where I think of hearing a soothing voice late at night on the radio (and in fact I have played it on the radio).

"Fantastic Place" is frankly, pretty fantastic. A fantasy tune, that musically I hear a lot of U2 on, but in such a cool way.

"The Damage" is very Beatles-like. It almost sounds like something from the Abbey Road period. Very catchy. I wish I could say the same about "Lucky Man."

"The Only Unforgivable Thing" I probably think of for hearing some dude at the show I saw in Chicago say to another person talking "the only unforgivable thing is talking during a Marillion concert." Lol, but it leads to in a classic Marillion element, something very cool in the bridge. I swear Marillion have written like 10 or more tunes like this, and I love it when it happens. Where it's a song that starts out slow, and doesn't sound like it's going anywhere, and then eventually starts to get trippy and rocks out in such a great way.

"Don't Hurt Yourself" is probably the catchiest track on Marbles, and one that I never get sick of. It almost sounds like The Eagles or Neil Young or something, but the melody just stays in your head for hours.

"You're Gone" is another track that could have been played on the radio. The wall-of-sound textures at times, with Hogarth's impassioned lyrics and vocal lines. 'You are the light, you have the day, I have the night." I mean it does speak to saying goodbye to someone, but almost in a good way. Almost like if you were a parent sending your kid off to camp or college or something (or in a relationship with someone, and they are leaving to college or for a job or some other reason), but you still have the memories or something. It almost is a song that could be sad, but actually ends up being happy.

And then there is the "Marbles Suite" which I think adds a very storybook-quality to this album. Almost in narrative, or telling a story of someone's childhood (Hogarth's I recall reading once), in 4 phases or chapters at least. 

This is a double album, that seems to work best as a double rather than single record. The production/mixing/mastering also stands out among many other parts of it.

But I think maybe the most significant part of this album was it really proved to me to never doubt this band again. Even if they never make a record at this level again, I just can't discount that 25+ years into their career, they made a record as good as anything they'd ever done. It felt like to me, Marillion saying, yeah,we may be older, but we still know how to make an album you can revere like many of our others. And it'll still sound modern and not exactly like our music from so many years ago.

And who knows, it would not surprise me to see them make another record this good again.

Significant Albums: The Dear Hunter - Act II: The Meaning of and All Things Regarding Ms.Leading

This has been my favorite record of The Dear Hunter's, more or less since it was released. Sure, I love Act I nearly as much, and adore nearly all of Act III as well, but this album is just without flaw. And people say it's too long? I feel it's more or less the proper length. Or rather, I enjoy it most all at once, and don't find myself wanting it to end, even at the end of "Vital Vessels Vindicates."

Lord, I don't know how extensive the details will be included here initially about it, but I will include at least some of them for now.

I love the layering, the styles incorporated being ragtime, progressive rock, Beatles and Beach Boys like harmonies and instrumentation.  Some of those melodies I will never forget. When I listen to it now, I do get a ton of nostalgia to the Summer and Fall of 2007. "Red Hands," I'll admit, I still adore and think it's the most accessible track the band has ever made (as much as Casey may not agree, and at least doesn't quite love it, for that or just for what it is).

The chorus is just so addictive to sing along to. And the way he brought it in with the strings towards the end, I often get tears just thinking about the passion or emotion put in to it. "Oh My God What Have I Done? Now My Darling Put Your Clothes Back On."

Shit, my train of thought is leaving me....

I mean just going down the track list, "The Procession," "The Lake and the River," "The Oracles and the Delphi Express," and "The Church and the Dime," just offer a great sense about how The Dear Hunter have so many influences. From the time changes, to the choruses and lyrics that return or get referenced. They are 4 songs, but almost seem like 6 or 8, with the transitions and change in style. Among them, I guess I think of the deep vocal section of "The Lake and the River" "Eat so much but I never get full" . For some reason, the track "Nauticus" from Pain of Salvation, I get reminded of in that section. Musically and lyrically, they aren't that similar, but the whole slow, rhythmic deep (baritone?) vocal use and what sounds almost gospel or preaching/prayer-like, and sort of in a random, out-of-the-blue way in style, those 2 songs/section I seem to think of.

"Smiling Swine" I guess I will always associate with The Beatles "A Day in the Life"..the whole rhythm and use of vocal dynamics. I thought I read or heard once of Casey's love for that Beatles song or at least that song being inspired by The Beatles. It might have been other Beatles like something off of Abbey Road or something. I also for some reason think of the story being at a Hotel or something, and The Who's "Bell Boy" ideal if not music specifically.

I guess that is one point where the story seems to be as big a deal as the music. But unlike many Rock Operas (not including Quadrophenia tho) and story/dialogue based albums/music, The Dear Hunter's storytelling and narrative totally works and avoids the issues with a lot of the cheesy melodramatic elements of those kinds of albums. The music still does come first and the vocals are not written for the story, but for the song still.

The story itself, while I honestly don't attach myself to, I find appealing enough to wonder about. It does pickup from where Act I left off about the young man Hunter's exploits and encounters, in this case, with a call-girl who he falls in love with, but then learns about what her intentions and identity are. Although I kind of see her as initially trying to deceive him, but ultimately wanting what's best for him.

I love the ending of this record to bits, as I stated earlier with this album not dragging or seeming too long. In fact the last 3 or 4 tracks in some ways are the most memorable. From "Red Hands" on, I seem to receive ear worms with nearly every track. "Dear Ms.Leading" is such a great rocking tune. The vocal harmonies and the way it builds. The organ texture works so well, almost in a Deep Purple-kind of way. And Casey's screaming totally fits.

"Where the Road Parts" and "Black Sandy Beaches" are dreamy and just impossible to leave my head. The line "You were the only one that didn't fold"....I keep hearing over and over. And actually recall loving the original demo which I think was just titled "You Were the Only One That Didn't Fold." It's just a tear-dropper, the way it builds and the dreamy floating synths with the vocal chants.

"The Bitter Suite" suite, and "Evicted" I would say the same about as well. Dreamy, mesmerizing, and another great example of The Dear Hunter's use of falsetto vocal harmonies, that I totally love. Whether that is partly due to Casey's love of The Beach Boys and Brian Wilson or just his general interest in using them, especially at the time he wrote this, I dunno. Although I suppose the overt Beach Boys-like moments aren't as evident on this album as they are on a couple of tracks on both Act I and Act III, they still seem to be noticed enough.

Blech. I guess for now, I can just add or conclude, this is a special record that while it may not be exactly the kind of music The Dear Hunter are making now, and wasn't my introduction to the band initially. It totally cemented my love for them and Casey Crescenzo as a songwriter and musician. It's a record with a ton of ideas and a ton of moments to enjoy. And it's very progressive rock-like but in a modern way, screaming being one-of but not the only part of that. I hope for the day Casey makes something I enjoy even more than this, but if it never happens I can't say I will be disappointed.

Significant Albums: Menomena - I Am the Fun Blame Monster! (2003)

I've been sitting on this blurb for a few days and I need to finally just do it.

I was introduced to Menomena in 2007 I recall when their new record Friend and Foe was buzzing a bit and suggested on the dredg fans forum. I remember liking some of what I heard but struggling with them them at the same time. They had a very quirky style of rock music, that didn't grab me right away. But I think part of that was because I hadn't heard this record.

Once I heard this debut album of theirs, I Am the Fun Blame Monster!, I became more won over. For one thing, I absolutely loved their use of piano. So much so, I came to be reminded of all bands, Genesis. Brent Knopf reminded me a lot of Tony Banks, in placing these subtle, intricate little piano phrases into these quirky songs, that somehow gave me goosebumps and at times just became the parts of those songs I looked forward to the most.

So, over time with both this record and Friend and Foe, I came to realize how great this record was. It flows amazingly. The dynamics, use of percussion, production, textures like Mellotron if I recall, and other parts totally stood out. Another big part was how they used saxophone.

Sax is not a commonly used instrument in rock. Here and there, namely with Bruce Springsteen and even King Crimson at times (or Jethro Tull some may recall). King Crimson in particular, I came to hear as an influence with Menomena. I'm not certain how much exactly, but from memory when I spoke to both Justin Harris and Danny Seim at some of the shows I saw them in the past few years, I seem to recall asking them about Crimson and them saying they were fans.

Specifics with this record, and like many of these records that are so significant, I find this is another album that works best all at once. Or is greater than the sum of its parts so-to-speak. But songs like "Rose," and "The Late Great Libido," "Cough Coughing," "Strongest Man in the World," "E is Stable," and maybe my favorite track, the nearly 9 minute closing piece "The Monkey's Back" which features Brent Knopf's vocals, driving guitar riffs and what sounds like a combination of an organ and especially wonderful, mellotron patch.

But I wouldn't throw away a second of this album. It is a very complete work, even down to the title, which is an anagram for "The First Menomena Album" to the extensive packaging, which as you flip through the 80-page booklet, it can be flipped-through like a cartoon almost, with the artwork. Some have been given the impression of how young they were, with song titles and their silly, quirky style. But I honestly find it to be unique and a big part of their and this album's charm.

There really isn't another band who sounds like them, nor this album. The at times not-taking-themselves-too-seriously, to at times sounding incredibly emotional and deep/serious and almost sad, comes across throughout this record. It's definitely an album that if it connects with you, it may surprise you. In that you listen to it, and after wards are a surprised how much it can stay with you. And not just on a musical level, but sort of a mood/message/emotional thought-provoking way. Kind of like, what the hell did I just listen to? and wow, I feel like I just woke up from a dream or finished a best selling children's story; like Where the Wild Things Are or Peter Pan or something.

Menomena's 1st album clearly was the culmination of many years of refining song ideas from all 3 members (including lead vocals from all 3, in sort of a Beatles-kind of way. The member who sings lead vocals, I've kind of believed was the main songwriter from said song. And each member has a pretty distinct voice, so it's not hard to distinguish). However, on this debut record of theirs, they showed how they were a 3-headed monster of rather skilled songwriters, and especially on this 1st album, many of their best ideas came and worked together extremely well.

I revisit this record every so often, and every time I think I have finally heard them do something better, albeit the present Menomena, Brent Knopf's now full-time band Ramona Falls, or any of their other work, I keep being denied, in that this was a special record that just happened to be made as their 1st work. And it certainly stands up as many years later, and remains one of my favorite albums of the 2000's as well as all-time.

Significant Albums: Fates Warning - A Pleasant Shade of Gray (1997)

So where do we begin?
And what else can we say?
When the lines are all drawn
What should we do today?

Yeah, of course that is the opening line, and probably the line most associated with this record. And appropriate for this series or actually more or less anything involving thinking, nostalgia, etc.

This is my favorite Fates Warning record. It has been more or less since I heard it. And I am a dedicated and long-time, going on 18 or 19 years, fan/fanboy of one of the definitive progressive metal artists. So, I naturally hold more or less everything this band has done in high regard.

But this record is their most unique. Why? well, for one, it may be regarded as their only obvious concept album. Being that it is really is just 1 nearly 54 minute song, divided up into 12 "parts" per say. I consider it 1 song anyway.

I guess it was perfected in a lot ways. Mood-wise, it was and still is relate-able in sort of a reflective and therapeutic way. The emotion heard in the dynamics, from the vocals to the guitar. And use of sampling rain, for example, along with the piano, which especially at the time, knowing it was Kevin Moore playing on it meant a lot to me, given I was still rather down about his departure from Dream Theater. Although, of course Kevin Moore I don't believe wrote any of it, as Jim Matheos is credited for that. I wonder though, especially with any of the samples, if Kevin was involved, as that has been, and namely around that time in the 90's, something he was rather adept at finding and using.

Another part of this record that maybe gets overlooked is how Terry Brown was involved with the production/producing. Terry Brown worked with Rush and many other groups I enjoy, and I recall had worked previously with FW on Parallels, and then later on Disconnected as well. I recall reading some stuff about his writing or working well with Ray Alder on the vocal melodies. And this album has many of Ray's best vocal lines.

"Stayed up late last night...."
"But circumstance conspired, and here we are, here we are"
"But I often wonder, what could have been.."
"Let nothing bleed into nothing, and did nothing at all"

Just trying to remember some others..trying to jog my memory.

I think one of the biggest parts of this record being such a big deal to me, was it came out in 1997, not long after the band had long time members Frank Aresti and founding member/bassist Joe DiBiase leave the band. I recall tape trading with a guy and including some letters per Metal Edge's "Metal Head Directory" and talking about Fates Warning. The guy mentioned reading the news of those 2 guys leaving the band and how the band, meaning Jim Matheos, may just hang it up. I have a really distinct memory of getting my bass guitar and playing it one afternoon and then stopping and feeling incredibly depressed about Fates Warning, a band I had only recently become a fan of, but was loving everything I heard. The possibility of them breaking up. After seeing Kevin Moore leave Dream Theater, and then learning of the possibility of  Fates Warning being done.

And then this record comes out, and for my 20 year old, music-seeking self, it kind of gave me some hope for my love of music at the time. Especially in 1997, a year when a lot of music I was checking out was not up to par, like Queensryche's latest, or even the previous year's Rush album. And Dream Theater's new album seemed to be taking an eternity to come out. APSOG was an album that sort of saved my ability to listening to new-music at that time.

But on paper, it is just one of those classic concept albums, that everything was written and recorded (and perfected) for a reason. It is best heard all at once, as I mentioned, it is really just 1 54 minute song. And while it is sound-wise more modern sounding and less heavy or Metal sounding than FW's previous albums, save for maybe even the one that preceded it in Inside Out, a record I almost regard as having very little heavy moments. But I think it kind of found Fates Warning making a  more darker, progressive rock, than anything else.

It was really in a lot of ways, Jim Matheos saying fuck you to the music industry and their demand for shorter, "radio friendly" songs/music, including having to pick them off an album. Even with the tracks labeled "Parts 1, 2, 3..12" etc, it was like the exact opposite of what they seemed to try to do with Inside Out and even with Parallels. A non-commercial approach to song and album.

Many fans regard this as a turning point in sound, which it is in a lot of ways. Ray doesn't sing a ton of falsettos nor their "Metal" or "80's" sound seems to be gone. It has some industrial moments, which I am not normally into much in general, but with Fates and this kind of music, I totally go for.

The concept? I've always wondered and thought it was about a man reflecting on his life's decisions and wondering if there was anything he could do to change them. But also just his memories, sort of day dreams or dreams he had, which recall past experiences of his (or maybe others?..SciFi?).

Jim I recall never really explained what the actual concept is, or if there is an actual, defined concept with it. Probably why a lot of the lyrics, like most of his lyrics, are pretty ambiguous. So, it's up to the listener to interpret them and the music how they want, which often I appreciate as much as any more blatant kinds of lyrics or wording with music (album titles, song titles, artwork, or even artist names).

Is it an album I listen to a lot? not anymore, but for nostalgia and uniqueness, I still think it holds up and is somewhat unmatched. I often wanted to call it "A Perfect Shade of Gray" in just how perfect I find it. And I'm not sure if they will ever make anything as good as it is again, which I'd love to be wrong about that, but for a band who was 14 years into their career and now 30 or so now, I would hardly expect it.

I also recall reading an interview with Jim around the time he was writing this, online per an mIRC chatroom text, where he mentioned listening to a lot of Marillion at this time, including the double live album Made Again which had recently been released around that time.. Which maybe that was also when I started to think of these guys with Marillion.

Significant Albums: Klimt 1918 - Dopoguerra (2005)

Okay, this is it. First off, I want to say a few things.

Lists: Everyone seems to make them. I do make them, but in some ways as a necessarily evil. Truth be, I HATE making them, I also HATE trying to write reviews. Why is that? because I'm not a genius. I can't pull a rabbit out of my ass with some beyond common knowledge and vernacular. I am no National Merit Scholar anyway.

And frankly, loads of reviews, blurbs, even from the highly praised, I think are often nauseating to read.
And to be honest, lists in some ways as well. I guess it often does come down to subjective element of the content. But making long, year-end Album and Movie lists, while always fun to read, has become a little cliche among the masses, online and other sources.

So, I guess then the question is raised, how am I not any more cliche or repulsive by doing this? valid question, but I guess since I really have never given it a proper attempt, and I can, because I am not meaning to flood all sorts of places with it (maybe 1 or 2 forums I suppose, 1 being for the dreamtheaterforums.org anyway).

What will this list, or series of entries be like? kind of random in some ways. I may include 4 or 7 albums in 1, others only 1. They may be very short (actually a good chance that'll happen); but they also may be more extensive than I would mean to for an outside reader anyway.

How many? well, for the dtf, it's supposed to be 50. But, that is just not even close to enough, so the series may go a lot longer, like 100-300 or more depending on how I feel and of course time.

When will they be done? the 50 for that forum hopefully will be done in a few months if not less, but I may do this all year or more.

Isn't this just like the "AllMediaReviews Essentials" series, just with the albums, not artists that never got too far? yes and yes. And the fact I have a gf now, well, again, the time factor will dictate. But the 50 for the dtf will happen for sure. I just may have to make time away from her, much to her not being too happy with that. I guess, again, that bridge will be faced when I get there.

That being said, I am writing these in a Random Generated Order per a website, ordering 1-168+. No ranking or alphabetical or anything (for now).

https://www.facebook.com/Klimt1918




What can I remember about this record? I was introduced to it per Spectre1982's 2005 albums list on the dredg fans forum. He had a massive list, and I checked out a bunch of new names from it, and caught on. This was 1 of the most addictive albums from that list. In 2006, I probably listened to this album 50 or 60 times. The energy was so infectious. I loved their style of U2 meets Heavy/Post rock, I suppose I might call it now. Some of the songs were very catchy. Namely "We Were Wed By the Sea." The pounding riff on that track I got attached to. So much so, I may even play it on KFAI tomorrow or another time.

But the whole record flows really well. I often found I had to play it beginning to end. The double bass in spots, dreamy element. I really would love to go back to the Winter and Spring of 2006 again..especially like January and February and put this on on my drive to work and while at work. Nostalgia, which is a word they used in the lyrics more than once I recall.

A romantic album. An uplifting album. An album that has the Italian element in small ways. Their singer does have an accent in his vocals, but it in some ways makes him sound more distinct.

I'm not surprised the dredg fans like this band. Some like their follow up more, Just In Case We Never Meet Again (Soundtrack for the Cassette Generation). I actually grew to love their previous albums more so. Even when they were heavier and used a bit of blackened Metal in their sound. 2014, could see their return as well thankfully, as they are posting on Facebook a lot over the last few months.

I also would say, bands like Alcest and Katatonia, while have had larger success, even with their differences, would find crossover for this band. Klimt 1918 aren't Metal anymore, but the "gaze" and melancholic element they share with those other 2, as well as a band like Anathema even.

"Snow of '85" is like the definition of nostalgia in song.
Nightdriver
Sleepwalk in Rome
Lomo
Rachel

fuck, I can't really say anything on here is bad. I even love the 2nd CD that includes some very soothing remixes.

Klimt 1918, oh how I have missed you. And this album remains my go-to disc still some 7+ years after hearing it.