VIGIL IN A WILDERNESS OF MIRRORS

1 'Vigil In A Wilderness Of Mirrors' the entrance was yesterday... in 1990, not yesterday a little further ahead; the keyboard, the real Marillionian voice, the only one, long before we say the Fishian voice; a long title a bit a cappella then symphonic, and my preference over the new Harillion which came out the same year; a chorus that touches you, a bit of Phil Collins and GENESIS third version, a break with biniou, I see the kilt and the end with a solo by Franck that reassures me; Marillionesque blood flows well here. The end like the intro, the prog effort to the end; the slap. 2 'Big Wedge' confirms to me what I was saying about COLLINS; brass, a more pop voice, a turn but that was the goal, at the risk of comparing his work with his band before; a bit of sax, a frantic rhythm and we'll have to deal with it; he at least is not trying to extend the mark. A starter title that magnifies the other more worked ones. 3 'State Of Mind' with Trewavas-like bass that fills the space, an airy air that makes me wonder; it's not in my views but I like it anyway; it's innovative with the acoustic guitar, the spleen, the jungle voices, the romantic ballad and the voice of FISH that takes you by the hand and takes you away. 4 'The Company' Marillionian intro if I feel it; instruments that create the atmosphere, a voice that makes you move, oh that's nice; we sail, yes the sailors' instruments confirm it to me it's sympho, folklo, it's well done on an amphetamine crescendo of hope and stuffed with orchestration 5 'A Gentleman's Excuse Me' syrupy nursery rhyme on the piano, moment of introspection and another short title which changes tune, rhythm, atmosphere; I see a FISH calm, calm, in consultation with his demons singing on a romantic title with waltzing couples, a singular moment 6 'The Voyeur (I Like To Watch)' well we find his voice here, don't be afraid, the title that I like the least, 20 years haven't managed to make me change my mind; it's too predictable and monolithic; yes I am unable to do the same, but I expect the best from an artist, don't you? The break saves the day with Genesis memories and a synth solo which stands out pleasantly, never criticizing before the end, something often done in our society which is no longer turning round, moreover is the earth still round? The end sends me back to the avant-garde experimentations of BOWIE 7 'Family Business' return to basic melody, piano and voice; Hal's Rotheryan guitar; the slow very progressive crescendo restores the spirit to this album which was beginning to decline in terms of concentration; a title that shows that his voice was indeed an asset on MARILLION 8 'View From The Hill' where we finally go over 6 minutes, I hope to be surprised (actually not since it's a review chronicle, I've known the album since its release); well I come back to the title, the 2nd one that makes you vibrate, a fishian-marillionesque conglomerate; a piece that smells of marshmallow, that flows from source with the rises on its typed voice, the relative explosion of the musicians who just make you climb on the musical edge... could it have been on the next MARILLION? the solo good, not very good and the orgasmic rise, yes remember at the time that was what we felt; and the outro with this guitar is the little extra that makes me melt. 9 'Cliché' well, I'm not telling you the story, you know it by heart; on the other hand, I come back to this piece, this intro, this progressive rise, this atmosphere, this musical sweetness, yes that's it, you picked it up, it was there that you said to yourself that the prog would continue to live in your heart, that it could not be otherwise, here I remind you of your personal, intimate snapshot, I reveal it to you, like this solemn, melancholic and beautiful solo by Frank; in short, it's not just music, it's a lot of emotion in the bar; the moment when you feel like hugging your partner, to try to share YOUR emotion with her;

Well, FISH made a good album sweeping their band from before to show another side; and keeping its sounds that made us swoon in the early 80s when the prog died despite infusions, the blood no longer flowed.