Between the Buried and Me – Automata Pt.1 (Album Review)

Between the Buried and Me – Automata Pt.1 (Album Review)

Review by Victor J. Giol

With the release of Automata (Part 1), Between the Buried and Me have provided the next stage of their musical maturity; a concept album which is being revealed in two parts (the second part to be released in June). Tommy Rogers’ dark lyrics centered on the main character’s struggle with depression and the media exploitation of it. These five musicians successfully deliver a great journey with their signature power, precision, and sound longtime fans have adapted to hearing.

The opening track, “Condemned to the Gallows” sets the dark mood with a great and haunting acoustic guitar intro as so many classic metal albums have done. They capture the listener’s attention and set the expectation of the heaviness which is about to arrive. The perfect blend of rhythm and melody allows the band to quickly flex their metal muscle as growling vocals and melodic singing are equally represented while following the flow of the music. “House Organ” slaps one in the face with an onslaught of distortion guitars and a tight groove between Richardson and Briggs. Rogers signature growls is so well complimented by the more subdued breakdown which he then shows off his melodic singing. BTBAM show in their musical growth they are able to establish and ride a great groove rather than changing drastically every 16 bars. With their familiar sound established, now comes the meat of the album.

“Yellow Eyes” provides a satisfying 8-plus minute of BTBAM at their prog metal best. As fans will be able to appreciate and understand how all of the best past efforts are well balanced and combined to provide musical satisfaction for all to hear. Waggoner and Warring get to showcase their tight dueling harmonies as well as putting down some cool grooves complimented by Briggs’ low end foundation. In typical fashion, the halfway point introduces a cool groove giving the listener a break from the complex riffing and Briggs’ jedi bass playing is easily heard. Richardson’s relentless playing gets rewarded with a short snare solo complimented by Rogers’ keyboard. Paul Waggoner’s solo brings the song to a great conclusion which leads us to “Millions”.

The fourth album track establishes a clean easy groove then jolts into the chorus. Once again, the contrasting vocal styles are balanced and deliver the story well. “Gold Distance” is a brief transition of keys and some delicate bass lines surrounded by special effects leading to the ten minute album climax, “Blot”. This song brings all the elements which one would expect—it doesn’t disappoint. Interestingly, the opening keyboard and guitar line could be something out of Haken or Nova Collective—clearly, Briggs’ interactions with Haken’s Henshall have rubbed off a bit. Even at the 6 minute mark, there is a vocal melody line you could hear Haken influence as well. Overall, this track shines as it has everything BTBAM has to offer at the highest level of musical performance. The ending chorus is epic; but, just when you think a conclusion is due, the abrupt ending reminds us the second part is just a few months away…

A long time show business mantra is to always leave the audience wanting for more. Between the Buried and Me have done exactly this, now June cannot get here soon enough.

Released on March 9th, 2018 on Sumerian Records
Key Tracks: Condemned to the Gallows, Blot

Tracks:
1-Condemned to the Gallows
2-House Organ
3-Yellow Eyes
4-Millions
5-Gold Distance
6-Blot

-Dan Briggs: Bass
-Blake Richardson: Drums
-Tommy Rogers: Vocals, Keyboards
-Paul Waggoner: Guitar
-Dustie Waring: Guitar

Kino – Radio Voltaire (Album Review)

Kino – Radio Voltaire (Album Review)

by Prog Nick

Lightning never strikes twice in the same place, does it? Thirteen years ago a lightning bolt called Kino cracked the 2005 Prog-pop sky and scorched the earth, albeit briefly but as powerfully as a tornado. It struck only once. The album, called Picture was the result of an enigmatically short-lived collaboration between lightning master John Mitchell (It Bites, Frost*), John Beck (keyboardist for It Bites and Fish), Marillion bassist Pete Trewavas and Porcupine Tree stick-man Chris Maitland. The one-off line-up did not flatter to deceive – on the contrary, it was a sky-kicking statement of progressive-pop power, melody and innovation delivered by masters. Like a bolt of lightning, it hit a mark that had never quite been struck before – a unique sweet spot of Prog, pop, power and electrifying chops that defied any descriptor other, simply, than “Kino”.

Picture subsequently became a rarity and was finally re-mastered and re-released to a demanding public in 2017. This led to inevitable discussions about a belated sophomore album, and now, no less than thirteen years after the first album, the follow-up has been released. Has lightning struck twice in the same place?

Kino’s second album, Radio Voltaire again features Mitchell and Trewavas, and though Beck is ubiquitous throughout the album, this time he is somewhat mystifyingly listed as a ‘special guest’. Mitchell’s (much deservedly) current go-to drummer, Craig Blundell (Steven Wilson, Frost*) completes the line-up as a full member.

The album comprises mostly shorter songs, and therefore gives vent to Kino’s more accessible side. It might at first seem a little surprising that nothing quite as adventurous as the lengthy epic “Loser’s Day Parade” from Picture has been attempted, but that should not deter you, because the music on this album is as substantial and is filled with the unique Prog-pop proclivities that made Picture so beloved by so many.

If there is an ‘epic’ on the album, it is the opening and title track “Radio Voltaire”. This moving piece starts with 1920’s radio voice-over that gives way to one of the most majestic, soaring guitar riffs you will ever hear (Mitchell clearly intends to make an early statement with this) and the composition unfurls into a varied and melodic extravaganza filled with cinematic suspense, delayed gratification and ultimate grandeur. Blundell and Trewavas make their mighty presence felt early on – the combination of the former’s trademark bass sound and the latter’s expansive but always tasteful drumming make for a rhythm section unlike any other you have heard. Mitchell’s searing guitar-work is abundant, and Beck’s keys are as fastidious and rich as ever. But is it Kino? No-one would argue to the contrary – the solid pop hooks, Prog leanings, unusual progressions, grand arrangement and conceptual message (in this case promoting freedom of expression) that Picture led us to long for so many years ago, are all there. Lightning seems to be prepared to strike in similar territory again.

Second track ‘The Dead Club’, already released on the internet as a teaser, starts with recorded German comments from members of the public, invited by Mitchell on social media. A typical oriental-sounding Beck piano chop leads into the granite groove that is the song’s foundation. It is a menacing 7/8 arrangement built around an angular Mitchell guitar riff, always underscored by that massive Trewavas bass sound. (Mitchell rightly seizes the opportunity to exploit this whenever he can.) The song is a white-hot bolt of metallic fire that serves as a contemplation on the death that we call life. Somber and cynical, it is at the same time strangely uplifting in a macabre way. Beck’s lonely keyboard stabs in the middle lead into a towering synth solo, and the bridge is highly melodic, reminding us that Kino is still about the combination of titanic power and pop melody. The groove builds like a tornado, until the storm subsides on the inevitable repeated message ‘Welcome to the Dead Club.’ The song indeed confirms that this is Kino as we know and love it, with the same edgy Prog-pop mixture, only this time with a somewhat moribund message – Mitchell’s mood is darker than in 2005.

‘Idlewild’ starts with plaintive Beck piano intro that is true Kino, culminating in a magnificent guitar solo. The lyrics are particularly impressive: “Shooting vapour trails at the sun, there’s nothing to declare – this race is run.’ Beautiful, and with lyrics like these, very few voices other than Mitchell’s would extract this particular emotion. He may be a baritone, but there is an edgy sweetness to his voice that works perfectly with this material, and is given all the more contrast by the gravitas of Trewavas’ bass. This ballad is a gorgeous exposition of how melody, power, lyrical introspection and instrumental virtuosity can evoke true emotion.

Comprised of pure power-pop filled with harmonies and hooks, next song “I Don’t Know Why” could be a cross between the Beatles, Cheap Trick and Foreigner. Yes, this could be 70’s classic rock, but it is not – it is 2018 Kino, and the difference is in Mitchell’s voice and harmony arrangements – he is the lightning conductor on this one, and the result is cheeky, fun and enjoyable. Tongues firmly in their cheeks, Kino offer an unashamed exposition of their pop-rock roots here. The song is unavoidably derivative, but one feels this is precisely what the band intended, and the outcome is genuinely pleasing.

“I Won’t Break So Easily Any More” starts with another 1920’s radio voice-over that is broken by a keyboard part that sounds intentionally like The Who’s “Won’t Get Fooled Again’. But then the riff is taken to a completely new place. Power pervades as the band kicks into a frenzied, complex and varied rocker that is steeped in Prog mayhem. Beck’s keyboard solo (in accordance with the song’s theme) is invincible, and the guitar solo radiates with typical Mitchell spleandour. Unsurprisingly, the song could have been on “Picture”. Kino is definitely back, only this time with Craig Blundell, who wields the lightning rods that are his drumsticks like the god of thunder. This brilliant song extols the indomitable spirit that is Kino.

“Temple Tudor” is built around a beautiful baroque acoustic guitar/piano riff that will undoubtedly pull at your emotions. There is an incredible quality of longing in Mitchell’s voice when he is in a soulful mood. As powerful as his voice is when he is in full rocking flight, it is in the quieter pieces that the true nuance, quality and emotion of his much-underestimated vocal delivery truly become apparent. Lyrically, too, this man is not to be underrated: ‘What have we become? Nothing but sailors on a ship of fools’ – this song is simply gorgeous and hits a melodic and lyrical pinnacle.

‘Out of Time’ starts fittingly with the sound of a ticking alarm clock. Wake up, dear listener, because Kino is issuing a warning about inevitability and mortality. The song features a unique, sliding, slalom verse/chorus combination, delivered on a massive Trewavas/Blundell foundation that is reminiscent of no-one. A mid-tempo crack-in-the-sky rocker, this song allows the band the opportunity to experiment somewhat. For example, a complex, stabbing interlude shows that Kino is not at all inclined to forget its Prog responsibilities. The section gives way to a heart-wrenching slow jazz chord progression built around a tasteful Trewavas solo run that makes you wish it would never end. Blundell’s rim-shots, splashes, pings and pops show that his mastery of the kit is not just about speed and prowess – it is also about true musicality and taste. As proggy as it might be, this song’s chorus will, at the same time, take you back to the massive melodic pop hooks that entranced you every so often in the 1980’s. ‘Out of Time’ is another zenith on an already towering album.

‘Warmth of the Sun’ is a lazy, hazy vignette of less than 2 minutes that could easily have been discarded, but is somehow better left precisely where it is. No stormy weather here, but rather a little snippet of sunshine and heaven, just for you.

‘Grey Shapes on Concrete Fields’ is an interesting rocker built on Blundell’s patterns and power. He wields the lightning rod with full strike command on this one, and each bolt will electrify you. Fast and forceful, the song is at the same time quirky with some ghostly Beck keyboard sounds bringing up the rear. The drumming is simply incendiary. If ever a ‘lightning’ analogy was apposite, it is truly so in respect of Blundell, who has by now defeated all doubters and entrenched himself as the torch-bearer for the new generation of Prog drumming geniuses. Filled with lightning playing, emotive swells, powerful riffing and a definite peak and purpose, this cracker of a song will entrance any fan of “Picture”, and then some.

“Keep the Faith” may not be the high-point of innovation on the album (it is, in fact, a little dreary at the outset, and its composition does not approach the standard of the other songs), but it is not completely without moments of fulfillment, as it builds to an unusually subdued Mitchell harmony solo. The lyrics are also somewhat underwhelming (“This truth I give to you, it’s all that I can do…”) Built on a Beatles chord progression, this is the only unremarkable composition on the album.

Whatever the shortcomings of “Keep the Faith”, these are more than made up for in the brilliant closing track ”The Silent Fighter Pilot”. Mitchell has indicated that this might be his favourite track on the album, and it is easy to see why. A (possibly historical) description of the story of a fighter pilot giving his life, even the recognised kings of musical story-telling, Big Big Train, would be proud of this one. Using timelines to tell the story, Mitchell’s vocal commentary is angry, and his guitar is furious. The song channels an aviation-related tragedy of war, and it is just remarkable how the music reflects that morbid story. It levitates, glides and floats through the air, before swooping in resignation into an aerial instrumental strike. The frantic trajectory of Mitchell’s guitar solo leads to inescapable silent demise. The album ends with the mournful sound of a plane engine fading into the distance.

Thirteen years after the first album, one might think that Kino’s intention to recreate their trademark sound might have been lost and replaced with the usual desire to “do something new”. There is indeed an element of that approach, but only partially. Mitchell, ruling like Zeus with a lightning rod, has seemingly resisted the temptation just to provide his latest batch of songs to his talented friends and label them “Kino”. On the contrary, while this music is as fresh as a recently-struck daisy, the familiar innovation that fans would expect from Kino is not in the slightest way absent. Accessible and diverse compositions combined with virtuoso Prog delivery and a clear intent to ‘preserve the hook’ make this album a second lightning strike for Kino. This is not “Picture”, but the spirit of that album is far from lost. Mitchell’s knack for mixing Prog with pop melodies, without allowing the result to be too saccharine, remains. That spirit is preserved on this album, and the result is the Kino we so briefly came to love, with a sharper edge, a darker view, and a more progressive production.

The cover of Radio Voltaire hints at its sonic contents, which are darker, a little more foreboding and somewhat more macabre (especially in the latter part of the album.) Paul Tippet’s skull-bearing design is nicely emblematic of the music.

The usual predictable comment may be made that you will like this band if you like Frost*, It Bites, Steven Wilson, Lonely Robot and Marillion. This may be true, but it is, quite frankly, not the point. The point is rather that these four superstars, under Mitchell’s rod, have created an album that fulfills the unique Prog-pop promise made by “Picture” and yet somehow permeates new territory within the genre. There may not be plans to tour just yet, but let us hope that the Kino lightning bolt somehow becomes a rolling storm this time around. This album is sky-splitting stuff.

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Released on March 23rd, 2018 on InsideOut Music
Key Tracks: Radio Voltaire, Out of Time, Grey Shapes on Concrete Fields

Tracklisting:
1. Radio Voltaire (7:06)
2. The Dead Club (4:12)
3. Idlewild (6:03)
4. I Don’t Know Why (5:25)
5. I Won’t Break So Easily Any More (5:30)
6. Temple Tudor (4:32)
7. Out Of Time (6:22)
8. Warmth Of The Sun (1:50)
9. Grey Shapes On Concrete Fields (4:42)
10. Keep The Faith (5:38)
11. The Silent Fighter Pilot (4:50)
– Bonus tracks –
12. Temple Tudor (Piano Mix) (4:29)
13. The Dead Club (Berlin Headquarter Mix) (4:02)
14. Keep The Faith (Orchestral Mix) (5:34)
15. The Kino Funfair (1:00)

Line-Up
John Mitchell – vocals, guitars
Pete Trewavas – bass, synths
Craig Blundell – drums
Special guest:
John Beck – keyboards

Gleb Kolyadin – Gleb Kolyadin (Album Review)

Gleb Kolyadin – Gleb Kolyadin (Album Review)

Despite prog being associated with great keyboard players hailing back to greats like Keith Emerson, Rick Wakeman, Geoff Downes, Richard Wright, and more, the most recent generation of prog, while suffering no shortage of great keyboard players, has largely been a guitar dominated affair. Guitars have added more strings, music has gotten heavier, and ever more complicated. Most heralded instrumental albums are from the well-known guitarists of the world. However, with his self-titled release, Gleb Kolyadin aims to show that this no longer need be the case. With the success of his award-winning duo Iamthemorning as his springboard into notoriety, Kolyadin has now recorded a giant album with beyond explanation performances and songs that excite and thrill with every listen. Gleb Kolyadin is certainly the next great keyboardist we all need to recognize.

First off, attention must be made to the production. The recording is superb and the mix dynamic. The multitude of sounds escaping from the speakers each find their own place and have room to exist. The album was mixed and engineered by Vlad Avy, who also previously worked on the two Iamthemorning records, and once again did a fantastic job bringing this music to life. The list of musicians included on this album is an all-star prog cast, with notables like Gavin Harrison on drums, Nick Beggs on bass, Theo Travis on flute and sax, and guests like Steve Hogarth and Jordan Rudess, among the collection of superstars. But it is Kolyadin that shines brightest on this album.

The album opens with “Insight” and a rocking grand piano groove, before the immense drums from Gavin Harrison introduce themselves. The two of them are in perfect synch as the song weaves into various sections. Harrison is truly as gifted a drummer as there is on the world and it shows once again on this album. The second half of the song has a great keyboard hook that arrives unexpectedly, but by the end you are left wondering, what was that? It is the perfect opening to the album as it absolutely sets a warning, don’t leave, there’s more.

There are a few vocal tracks and they are powerful their dark overtones and textures. Mick Moss sings on “Astral Architecture,” a wonderful track that again allows Kolyadin to show his grand piano chops. Moss’s vocals are perfectly placed on this track. “White Dawn” is a delicate piano intro to the excitable “Kaleidoscope,” a song that is a brilliant prog jazz mix. Again, the drums are just stupendous. Flautist Theo Travis displays his skills on the second half of this song, perhaps the highlight of the album.

Marillion’s Steve Hogarth makes an appearance on two tracks, the long epic “Confluence” where he does a spoken word intro before a tribal beat takes over eventually erupting into a rock ending. He also sings on the album closer, the ballad “The Best of Times.” Hogarth again is able to bring emotion to a song like only he can. Jordan Rudess, meanwhile, appears on the penultimate track “Storytellers” and you can tell exactly where he comes in.

Gleb Kolyadin has crafted an undeniably glorious album here, one that exudes talent all over. He proves beyond the shadow of a doubt that any fame that has come to Iamthemoning was no fluke. He is not only a gifted pianist and keyboardist, but a brilliant songwriter and arranger. Expect more big things from this immense talent.

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Released on Feb 23, 2018 on Kscope Music
Key Tracks: Insight, Kaleidoscope, The Best of Days

Tracklisting:
1.Insight 4:12
2.Astral Architecture (feat Mick Moss) 6:30
3.White Dawn 2:34
4.Kaleidoscope 5:52
5.Eidolon 2:13
6.Into the Void 1:46
7.The Room 4:13
8.Confluence (feat Steve Hogarth) 10:22
9.Constellation The Bell 3:23
10.Echo Sigh Strand 2:29
11.Penrose Stairs 5:04
12.Storyteller (feat Jordan Rudess) 3:20
13.The Best of Days (feat Steve Hogarth) 3:24

Gleb Kolyadin – grand piano, keyboards
Gavin Harrison – drums
Nick Beggs – bass
Theo Travis – flute, saxophones
Vlad Avy – guitars
Evan Carson – bodhran and percussion
with
Steve Hogarth Mick Moss – vocals
and
Jordan Rudess – keys
also:
Grigorii Osipov – vibraphone, marimba, glockenspiel Iliia Diakov – violin
Alexander Peresypkin – cello
Grigory Voskoboynik – double bass
Tatiana Dubovaya – vocals
Svetlana Shumkova – hang drum, spoken vocals

Concert Review: Sons of Apollo – Magic City Casino, Miami, FL, 2-9-18

Concert Review: Sons of Apollo – Magic City Casino, Miami, FL, 2-9-18

Concert: Sons of Apollo Monsters of Rock pre-cruise party concert
Venue: Magic City Casino, Miami, FL, Feb 9th, 2018
Words and Pics by: Victor J. Giol

Having recently come off the Cruise to the Edge where Mike Portnoy and Derek Sherinian’s newest prog supergroup, Sons Of Apollo, had their first live performances, the musicians were about to experience the first reaction from a more rock/metal audience in the Monsters of Rock pre-cruise party at the Magic City casino in Miami. Performing their first concert in dry land.

Mike Portnoy

As soon as the band started with Psychotic Symphony’s opening track, “God of the Sun”, it was clear the audience was raising the intensity level to something the band had yet to experience in a live setting.

Derek Sherinian

“The [Cruise To The Edge] prog fans like to sit back, enjoy, and soak up the music and experience,” explained Jeff Soto, however, it was clear the band would welcome the more intense audience response of a Monsters of Rock Cruise party. The band responded with precision and power; all of which was very well controlled and mixed by Jerry Guidroz.

Jeff Scott Soto

The band delivered solid performances of Signs of the Time and Divine Addiction and then immediately Portnoy broke into the familiar opening drum fill of his long time former band’s cover “Just Let Me Breathe”. While the band had delivered a great performance up to this point, hearing Soto and Ron Bumblefoot Thal pull of this Dream Theater song with precision makes the audience realize there is no weak link in this super prog metal group. Then comes “Labyrinth” which shows off the band’s ability to compose a prog metal epic with the come-to-expect technically superior instrumental breakdowns and extended solos. Billy Sheehan also delivered a bass solo which long time fans have come to expect and yet he blew them away with his limitless speed on the fretboard.

Bumblefoot

Sons of Apollo truly established themselves as a live powerhouse in not only performing their own material, but in performing great covers from the likes of Queen’s “Save me” (as a tribute to Soto’s brother and Mr. Big’s Pat Torpey), the big band jazzy tune of Mancini’s ‘Pink Panther Theme”, and the classic rock sound of Van Halen’s “The Cradle Will Rock”. They closed the show with the single off their first music video “Coming Home”. Their performance was one which impressed this crowd and left them wanting for more. Being this solid on their third show really baffles the mind as to how these guys are going to be when they hit their mid-tour form. Their first album is made for a live presentation. It is time to witness their virtuostic collective prowess come to life. Check the prog report’s album review here. Also check out the Prog Report for announcements of new tour dates.

Billy Sheehan

Set list:

1. God of the Sun
2. Signs of the Time
3. Divine Addiction
4. Just Let Me Breathe (DT cover)
5. Labyrinth
6. The Prophet’s Song/Save Me (Queen cover)
7. Alive
8. Bumblefoot solo – Henry Mancini’s Pink Panther Theme
9. And the Cradle Will Rock (VH cover)
10. Coming Home

Mark’s Quick Review: Violent Attitude If Noticed’s – Ourselves and Otherwise

Mark’s Quick Review: Violent Attitude If Noticed’s – Ourselves and Otherwise

If you have never read the key for my ratings below please do so one time. I feel my ratings are tougher than my peers. Also Check my last.fm link to see how compatible our music tasts are.

Buy Now from Amazon US

This debut album from the band sometimes referred to as VAIN has a nice sound. Not sure it really captivated me as a listener. I think there is some quality stuff here but I don’t think they maintained that quality throughout. There were some times in the album where I was waiting for a change but melody did not change at all.

Personally I would have liked this album a lot better if they would have realized that the album was bit too much straight up rock. I will look forward to hear what they come up with next I think there is potential here.

PREVIOUS BAND RATING:0 out of 5 stars (0.0 / 5)
ACCESSIBILITY:2.5 out of 5 stars (2.5 / 5)
HEAVINESS:1.5 out of 5 stars (1.5 / 5)
MELODIC:4 out of 5 stars (4.0 / 5)
ARTWORK & WEBSITE:4.5 out of 5 stars (4.5 / 5)
DRAMA:3.5 out of 5 stars (3.5 / 5)
OVERALL RATING:2.5 out of 5 stars (2.5 / 5)

ALBUM HIGHLIGHTS: Request The Tower Here

Click Below to purchase at Amazon US or Amazon UK and we’ll get a little referral bonus on your whole order. Even if you don’t order this album

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Buy Now from Amazon UK

Key:
These ratings are just attributes and may not have correlation to the most important: OVERALL RATING

PREVIOUS BAND RATING
0: Never heard of them or debut album.
1: Someone recommended. I give them another shot.
2: Some good moments in the past but never put together an album I really liked.
3: Some 4 or 5 star songs but albums can be hit or miss for me.
4: I like 80% of their songs and probably went to see them live.
5: I would, and probably have gone on a plane to see them live.

ACCESSIBILITY EXAMPLES
1: Weather Report
2: Zappa
3: Genesis – Selling England by the Pound,
4: Marillion – F.E.A.R
5: Kino – Picture

HEAVINESS EXAMPLES
1: IQ – Seventh House
2: Discipline – Unfold Like a Staircase
3: Porcupine Tree – In Abstentia, Shadow Gallery – Tyranny
4: Vanden Plas – Chirst 0, Dream Theater – Scenes From a Memory
5: Opeth – Black Water Park

MELODIC EXAMPLES:
1: Opeth – Black Water Park
2: Vanden Plas – Chirst 0, Dream Theater – Scenes From a Memory
3: Porcupine Tree – In Abstentia, Shadow Gallery – Tyranny
4: Discipline – Unfold Like a Staircase
5: IQ – Seventh House

OVERALL RATING:
1: Will Never listen to again and deleted under no circumstances should you buy this
2: Not my thing maybe one redeeming song.
3: I like parts of this and I would check them out if they were near me.
4: I would get in the car and road trip to see this album live
5: I would get on a plane to see this performed live

See if our likes are similar See my Last.fm Page

https://www.last.fm/user/mon40/library/artists

Concert Review: Marillion – Variety Playhouse, Atlanta, Georgia, 2-10-18

Concert Review: Marillion – Variety Playhouse, Atlanta, Georgia, 2-10-18

Concert: Marillion
Venue: Variety Playhouse, Atlanta, Georgia, 2-10-18
Review: Craig Ellis Bacon
Pics: Thomas Hatton

Pretty much anything Marillion does sets off a flurry of excitement amongst their dedicated fan base; that said, expectations and spirits were especially elevated on the night of Saturday, February 10 as the band were set to play their first show in Atlanta since 1990. By the time that doors opened at the Variety Playhouse in the über-hip Little Five Points neighbourhood, the line to enter was several hundred people deep and snaking around the parking lot behind the venue. Unsurprisingly, but wonderfully gratifyingly, Marillion met their audience’s enthusiasm and raised them a nigh-perfect, transcendent performance.

The venue filled quickly with eager, chattering fans—nearly one in three of whom were clad in Marillion shirts spanning the band’s career. The affection and anticipation were palpable even before the opening notes of “El Dorado,” but the emotional performance and tight integration of lighting and projection films garnered the band their first standing ovation a mere 15 minutes into the concert. Indeed, after Pete Trewavas’ particularly ambidextrous, funky bass workout on “You’re Gone,” the audience was excited to the point of being a bit noisy and calling out song requests, prompting a huge smile and loving admonishment to “shut up and listen for fuck’s sake” from lead singer Steve Hogarth as the band played “White Paper,” another extended moody piece from 2016’s FEAR album.

Throughout the concert, the sound was superb, with every instrument clear in the mix across all frequencies and no distortion (apart from the occasional slight bit of overdrive on Hogarth’s mic). Steve Rothery’s many guitar solos took full advantage of this crystalline mix as he demonstrated absolute mastery of soaring emotional leads and rarely-matched nuance on the higher end of the fretboard. This was especially apparent on “Season’s End” and the encore performance of “Sugar Mice,” yet another instigator of extended outpourings of audience appreciation. Perhaps the apex of this enthusiasm came in the middle of the first set, as fan-favorite and early single “Kayleigh” segued seamlessly into the keyboard intro of “The Leavers.” While some amongst the band’s hardcore fanbase debate the merits of FEAR as an album, those gathered in Atlanta were thoroughly in the palm of Marillion’s hand throughout the epic performance, and the band received their second and most energetic standing ovation for this piece. Hogarth seemed genuinely taken aback at the forcefulness of the crowd’s affectionate reception.

Anyone who has seen Marillion before will be well-acquainted with their accomplished musicianship and impeccable showmanship; anyone who hasn’t should check out some videos online then immediately buy a ticket to the nearest show (there won’t be a better time to break out those frequent flyer miles!). From Ian Mosley’s powerhouse drumming on “King” and Mark Kelly’s incredible proggy synth solo on “This Strange Engine,” to the aforementioned ubiquitous Rothery guitar leads and Trewavas’ indefatigable rocking out on the bass (as well as his under-lauded backing vocal contributions), to Hogarth’s incomparable vocal control flowing from whispered intensities through mumbled proverbs and into explosive howlings on “The Great Escape” and “The Invisible Man”—every member of Marillion is a virtuoso who knows how to serve the song with subtlety when appropriate and take a moment in the spotlight to wow their audience. Furthermore, the whole band seemed to be genuinely enjoying themselves, and their emotional rapport with their fans was apparent. Hogarth was especially playful, as shown in this exchange at the end of the first set:

Hogarth: “We’re going to leave you with this song…”

Crowd, emphatically: “No! No! No!”

Hogarth, coyly: “…possibly…”

Musically, emotionally, and technically, the concert was a singularly impressive experience, worthy of all the superlatives this reviewer can throw its way. Still, with such an accomplished and extensive repertoire, Marillion will never be a band who can just trot out an obvious and universally agreed upon greatest hits/legacy set, so there will always be opportunity for some to wish that this or that favorite song had been played. Even so, Saturday night in Atlanta featured a nicely curated selection of tracks from across the band’s eras, and h noted that they would be changing things up from night to night for the fans attending multiple shows. The live experience dispels any mysteries surrounding the obsessive love that fans have for the band, and Marillion gives back that love in spades. Get in on the love during the few remaining shows on this US tour, and look into the special fan weekend coming up in Montreal in 2019.

Setlist:

El Dorado
You’re Gone
White Paper
Season’s End
Kayleigh
The Leavers
The Great Escape
King

Encore 1:
The Invisible Man

Encore 2:
Sugar Mice
This Strange Engine

https://www.setlist.fm/setlist/marillion/2018/variety-playhouse-atlanta-ga-3beed88c.html

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