Sounds That Can’t Be Made |
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Released: September 17, 2012 Peak: -- US, 43 UK, -- CN, -- AU Sales (in millions): -- Genre: neo-progressive rock |
Tracks: Song Title [time] (date of single release)
All songs written by Marillion with lyrics by Steve Hogarth except “Pour My Love” which has lyrics by Hogarth and John Helmer. Total Running Time: 74:19 The Players:
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Rating:  2.943 out of 5.00 (average of 16 ratings)
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About the Album: “Sounds That Can’t Be Made sounds like vintage Marillion. They’ve returned to prog with a vengeance, delivering an eight-track collection that fires on all cylinders.” AMG On Radiation and Marillion.com, [they] began utilizing drum loops, ambient atmospherics, and U2-isms.” AMG “2001’s Anoraknophobia (the first ever crowd-funded album) went even further by introducing tropes from trip-hop, Brit-funk, hip-hop, and jazzy dub. While 2004’s Marbles was a marked a return to their sprawling cinematic origins, subsequent long players again backslid toward pop mediocrity.” AMG “Tempered by their restless experiments in the pop wilderness, Sounds That Can’t Be Made is evidence that Marillion always knew who they were as a band. If anything, they’ve become better musicians for having taken in all those extant sources.” AMG Things kick off with “the 17-minute epic Gaza. Delivered from the point of view of a young boy living in the region, it looks at the violence, poverty, and Palestinians’ will to independence without going after the nation of Israel.” AMG It is “perhaps the most overtly political song Marillion has done since 1989…Steve Hogarth explained, ‘This is a song for the people – especially the children – of Gaza. It was written after many conversations with ordinary Palestinians living in the refugee camps of Gaza and the West Bank...It is not my/our intention to smear the Jewish faith or people…and nothing here is intended to show sympathy for acts of violence…but simply to ponder upon where desperation inevitably leads. Many Gazan children are now the grandchildren of Palestinians BORN in the refugee camps – so called ‘temporary’ shelters…Gazia is today, effectively, a city imprisoned without trial.’” WK “Tempo, texture, and key changes abound throughout as…Hogarth shapeshifts through terrain that recalls Talk Talk’s Mark Hollis at his most emotionally taut. Steve Rothery brandishes a more aggressive guitar attack than he has in years.” AMG “Two other double-digit-length cuts, Montreal (a tribute to Marillion fans) and closer The Sky Above the Rain, offer myriad layers of inventive keyboards and expansive drum and bass work as Rothery and Hogarth deliver with peak prowess.” AMG “While Power flirts with sophisticated pop, it’s set free from such constraints by the interplay between Mark Kelly’s keyboards, Ian Mosley’s drum kit, and Pete Trewavas’ lyrical bassline, while Rothery’s guitar playing moves around Hogarth’s singing, filling the margins with colorful tonalities.” AMG “Closer Lucky Man…begins with majestic aggression and shifts toward a bass-heavy, bluesy melody that evolves into anthemic prog with Hogarth giving his best rockist delivery.” AMG Marillion used pre-ordering again to fun the album. As with Anoraknophobia, Marbles, and Happiness Is the Road, those who pre-ordered got “the special edition deluxe campaign edition box-set.” WK In this case, it included a DVD with a full-length documentary about the making of the album and numerous sound checks for songs on the album. There were also videos for “Lucky Man” and “Power.” Notes: A 2013 special edition added a second CD with three songs recorded for a radio session, a demo of “Lucky Man” and live versions of “Sounds That Can’t Be Made” and “Invisible Ink.” |
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First posted 3/6/2022. |
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