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Marillion: Fuck Everyone and Run (F E A R)

 A l b u m   D e t a i l s

Label: e.a.r. music
Released: 2016.09.23
Category: Neo-progressive Rock
Producer(s): Marillion, Mike Hunter
Media type: CD
Web address: www.marillion.com
Appears with:
Purchase date: 2016
Price in €: 1,00

 S o n g s ,   T r a c k s

       El Dorado - 16.34
[1] I. Long-Shadowed Sun (Marillion) - 1:16
[2] II. The Gold (Marillion) - 6:13
[3] III. Demolished Lives (Marillion) - 2:23
[4] IV. F E A R (Marillion) - 4:07
[5] V. The Grandchildren of Apes (Marillion) - 2:35
       Living in F E A R
[6] Living in F E A R (Marillion) - 6:25
       The Leavers - 19.06
[7] I. Wake Up in Music (Marillion) - 4:27
[8] II. The Remainers (Marillion) - 1:34
[9] III. Vapour Trails in the Sky (Marillion) - 4:49
[10] IV. The Jumble of Days (Marillion) - 4:20
[11] V. One Tonight (Marillion) - 3:56
       White Paper
[12] White Paper (Marillion) - 7:18
       The New Kings - 16.43
[13] I. Fuck Everyone and Run (Marillion) - 4:22
[14] II. Russia's Locked Doors (Marillion) - 6:24
[15] III. A Scary Sky (Marillion) - 2:33
[16] IV. Why Is Nothing Ever True? (Marillion) - 3:24
       Tomorrow's New Country
[17] Tomorrow's New Country (Marillion) - 1:47

 A r t i s t s ,   P e r s o n n e l

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

 C o m m e n t s ,   N o t e s

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 conclusion.

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 – tasteful.

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 emboldened form.

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.

Rating: 4/5

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 September.

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 happen.”
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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