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Marillion: Fuck Everyone and Run (F E A R)
||Marillion, Mike Hunter
|Price in €:
El Dorado - 16.34
 I. Long-Shadowed Sun (Marillion) - 1:16
 II. The Gold (Marillion) - 6:13
 III. Demolished Lives (Marillion) - 2:23
 IV. F E A R (Marillion) - 4:07
 V. The Grandchildren of Apes (Marillion) - 2:35
Living in F E A R
 Living in F E A R (Marillion) - 6:25
The Leavers - 19.06
 I. Wake Up in Music (Marillion) - 4:27
 II. The Remainers (Marillion) - 1:34
 III. Vapour Trails in the Sky (Marillion) - 4:49
 IV. The Jumble of Days (Marillion) - 4:20
 V. One Tonight (Marillion) - 3:56
 White Paper (Marillion) - 7:18
The New Kings - 16.43
 I. Fuck Everyone and Run (Marillion) - 4:22
 II. Russia's Locked Doors (Marillion) - 6:24
 III. A Scary Sky (Marillion) - 2:33
 IV. Why Is Nothing Ever True? (Marillion) - 3:24
Tomorrow's New Country
 Tomorrow's New Country (Marillion) - 1:47
Steve Hogarth - Hammer Dulcimer, Strings, Vocals, Xylophone, Arrangements, Producer
Mark Kelly - Keyboards, Strings, Backing Vocals, Arrangements, Producer
Ian Mosley - Drums, Backing Vocals, Arrangements, Producer
Steve Rothery - Guitars, Fretless Bass, Backing Vocals, Arrangements, Producer
Pete Trewavas - Bass Guitar, Backing Vocals, Guitars, Arrangements, Producer
Jennie Rothery - Vocals
Covent Garden String Ensemble - Strings
Geraldine Berreen - Violin
Eleanor Gilchrist - Violin
Sofi Hogarth - Vocals
Abigail Trundle - Cello
Teresa Whipple - Viola
Michael Hunter - Arranger, Engineer, Mixing, Producer
Oli Jacobs - Assistant
Simon Ward - Artwork, Design
Delivering a political album is always risky, with the possibility that
it will get locked in its historical era usually a direct consequence.
On their 18th album, prog rockers Marillion don't seem to care, and they
have nothing to lose and no one to account to but themselves. FEAR is
an acronym for "Fuck Everybody and Run." Two of its three lengthy,
multi-part suites ("El Dorado" and "The New Kings") are overtly
political statements that look at England and the calamitous state of
the world not only observationally but experientially. Topical songs
have been part of the band's catalog as far back as 1984's "Fugazi," and
have shown up as recently as the multi-part "Gaza," from 2012's Sounds
That Can't Be Made (the latter was perhaps an impetus for this record).
The centerpiece, "The Leavers," is an inside view of life on the road,
the strain it places on relationships, and how tenuous one's connection
to the world can become as a result. There are also three independent
tracks that evolve from the suites.
The first section of "El Dorado" commences as a reverie on an England at
once exactly the same but eerily and disturbingly different. As
guitarist Steve Rothery and keyboardist Mark Kelly urge vocalist Steve
Hogarth on in the second section, as he laments the pursuit of capital
as more deadly than plutonium, drummer Ian Mosely and bassist Pete
Trewavas offer a progression reminiscent of Pink Floyd's "Any Colour You
Like" before the band opens up and Hogarth soars. The fourth section
broodingly then thunderously reflects on the tolls of war, nationalism,
religious fanaticism, and environmental decay. Amazingly, it's not
preachy, but deeply personal. Kelly's orchestral keyboard stylings are
brilliant. The hinge cut, "Living in Fear," is the catchiest thing here,
with an anthemic, sweeping chorus, and a stinging guitar in the bridge
with a hook that is almost pop. Throughout its four sections, "The
Leavers" weaves from the gently melodic to the majestic. Hogarth's
lyrics have matured, delivering deep insight into the melancholy state
of being the protagonist inhabits, as the trace of Radiohead's influence
that slips in and out of the mix offers a poignant sense of alienation
and dislocation] The New Kings" is the knottiest, most intense track on
the set. Over 16 minutes long, it's a scathing, sarcastic takedown of
the new political power brokers: Corporate overlords whose cynicism is a
virus. Throughout its four parts it shifts in tempo, key, and form,
wafting, hovering, and power rocking through to an apocalyptic
Fans of the musical direction Marillion pursued during the '90s on Brave
and This Strange Engine will find much to enjoy on FEAR. It requires
repeated listening to fully absorb, but the payoff is easily the band's
most consistent, inspiring date since 2004's Marbles.
Thom Jurek - All Music Guide
Often it seems there are few things less progressive in life than
progressive rock. That was certainly once true of Marillion; during the
Eighties critics were quick to pounce on their ponderous 20-minute
songs, and Fish's painful sixth-form poetry. But after Steve Hogarth's
arrival the band underwent an epiphany. Their music became increasingly
focussed and succinct. And soon there was only one word for it –
As such, the format of FEAR (aka Fuck Everyone and Run) may, initially,
seem a backwards move. It certainly looks a lot more proggy than most of
the recent material, with the bulk of the record coming in the form of
three lumbering musical multi-parters. The first, "El Dorado",
comprises five vignettes that paint a picture of contemporary political
(post-Brexit?) foreboding, whilst "The New Kings" critiques capitalist
excess] We don't want to preach," say the band members. Yet, on paper,
that looks like exactly what they are trying to do.
Still, it through the speakers that an album is to be judged, and,
thankfully, here FEAR turns out to be an ambitious and moving mix of
mournful simplicity and dread. It works best in its component parts.
Three sections of "El Dorado", for example, possess a highly atmospheric
quality that borders on filmic] Long-shadowed Sun" is pure
finger-picked prettiness, whilst "Gold" is distinguished by a
certain electronic froideur. Finally on "The Grandchildren of Apes"
Steve Hogarth gives his best Radiohead impression.
The niggles, unsurprisingly, come from the album's conceptual
aspirations. For instance, Steve Hogarth's intention on "El Dorado" was
to express a lost sense of security through the narrative of a man out
mowing his lawn who is struck by the presence of a looming storm. The
song-cycle starts off well enough, but soon the pacing gets lost. Part
iii, "Demolished Lives", feels like it's just there to move things
along, whilst "FEAR" (Part iv), arrives too quickly for its full impact.
Still whilst the tracks don't necessarily cohere as intended there are,
undeniably, moments of the band at their best] Vapour Trails in the Sky"
has a stirring Pink Floydian quality, and "One Tonight" is just
gorgeous. Existing fans will lap this offering up, and for the
Marillion-curious it isn't a bad place to start.
Russ CoffeyMonday - 19 September 2016
The Arts Desk
At times, FEAR (Fuck Everyone And Run) suggests that Marillion have
taken all the most emotionally potent and fervently dynamic moments from
this line-up’s 27 years and moulded them into some new, exponentially
The wonderfully fluid way that epic opener El Dorado glides through its
five fragments recalls the deft melodrama of 1994’s concept piece Brave,
via the unsettling mutations of The Invisible Man (from Marbles, 2004):
simultaneously stark and trippy, it’s simply spellbinding. But even
beyond the refining and redefining of their known qualities, FEAR feels
like an imperious stride forward, the spikiness of its lyrical undertow
making a mockery of the notion that Marillion are just cheery old farts
playing to the gallery.
The incensed sprawl of The New Kings brings the band’s 18th album to a
devastating close, as H rants, croons, whispers and howls about social
injustice, the wickedness of unchecked power and the grand audacity of
media manipulation. It’s both deeply moving and quietly thrilling: the
sound of a veteran band completely engaged with their music, their world
view and their reasons for giving a shit. An album of great depth, huge
heart and dizzying finesse, this is also one of Marillion’s very best.
Dom Lawson - 31 Aug 2016
© 2016 Team Rock
FEAR continues a late-career renaissance that began with 2004’s Marbles.
It’s a totally uncompromising record; 68 minutes made up of just five
lengthy songs with no obvious radio-friendly singles. Politically
charged lyrics alternate between sadness and anger, and rich, layered
instrumentation references common Marillion touchstones such as Pink
Floyd and late-period Talk Talk, with the occasional hints of Van der
Graaf Generator at their most grandiose and menacing. Keyboardist Mark
Kelly is all over this record, going from electric piano runs to
doom-laden organ, while Steve Rothery is also on top form with his
evocative and lyrical guitar, exemplified by a wonderful solo on El
Dorado. Things come to a climax with the The New Kings, which has singer
Steve Hogarth railing at the state of the world and its corrupt,
self-serving elites, all set to dark, intense music that’s as good as
anything they have done. Quite possibly their best album in two decades.
Tim Hall - 22 September 2016
© 2016 Guardian News and Media
Fuck Everyone and Run (F E A R) is Marillion's 18th studio album, released on 23 September 2016.
As with many of their recent albums, Marillion used crowdfunding to
finance this album, this time using PledgeMusic. The campaign offered
various options of pre-ordering the album—called only by the code name
M18 at that time—including CD, download only, and a limited Ultimate
Edition box, containing, among others, a Blu-ray Disc containing a
making-of-the-album film. Originally the album was slated to be released
on 1 May 2016, but was later postponed to 9 September, and again to 23
On 8 April, Marillion revealed the album's cover art and announced the
title of the album as Fuck Everyone and Run (F E A R). Singer Steve
Hogarth commented on the title, saying,
”This title is adopted not in anger or with any intention to
shock. It is adopted and sung (in the song "New Kings”) tenderly, in
sadness and resignation inspired by an England, and a world, which
increasingly functions on an “Every man for himself” philosophy. I won’t
bore you with examples, they’re all over the newspapers every day.
There’s a sense of foreboding that permeates much of this record. I have
a feeling that we’re approaching some kind of sea-change in the world –
an irreversible political, financial, humanitarian and environmental
storm. I hope that I’m wrong. I hope that my FEAR of what “seems” to be
approaching is just that, and not FEAR of what “is” actually about to
On 7 July, customers of the PledgeMusic campaign received access to
download the song suite The New Kings, and an edited version of the song
was made available to the public on Marillion's YouTube channel.
The album peaked at #4 in the UK, marking the band's highest chart position since Clutching at Straws in 1987.
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