SEASONS END

"Seasons End", the fifth studio album by Marillion, is a crucial release. This album introduces Steve Hogarth as the new vocalist of the band after charismatic frontman Fish left Marillion the year before. Hogarth, at the time a relatively unknown figure who bears no resemblance to his predecessor, showcases his incredible singing abilities. This division between Fish and Hogarth still hangs over the band to this day, or rather, over the fans. The lineup change from Fish to Hogarth is the second most talked-about topic in the world of symphonic rock.

The gentlemen Rothery, Kelly, Trewavas and Mosley must be extremely proud to have Hogarth as a new addition to the band when "Seasons End" is released on September 25, 1989.

"Seasons End" presents a rejuvenated Marillion, ready to face the future with confidence while still building upon the musical foundation of albums like "Misplaced Childhood". There is more room for instrumental passages, in contrast to their previous album, "Clutching at Straws", which had a strong focus on vocals.

Several songs on the album were already in the works during the Fish era. During the auditions for the new vocalist, the band members composed fervently and called upon the poetic talents of John Helmer for the lyrics. Hogarth quickly came into the picture and the rest of the album became a reality. While Fish's lyrics were highly personal, those of Hogarth and Helmer focus on more general topics. For example, The King of Sunset Town deals with the student protests in Tiananmen Square and the title track discusses the growing hole in the ozone layer and the potential loss of the winter season. The environment was a hot topic at the time. Even the Fish-like Berlin is marked by its time of creation, shortly before the fall of the Berlin Wall. Musically, the song reflects its era with its prominent saxophone and new wave-like rhythm. The entire album, in fact, feels like a farewell to the 80s.

Prior to the album's release, the single Hooks in You is put out, a catchy rocker with fiery licks and soaring guitar solos in the vein of Van Halen's Jump, albeit less intense. It's a decent track, but with the compositionally simple After Me, Marillion truly demonstrates that they have struck gold with Steve Hogarth. The intensity is overwhelming.

But this short track turns out to be just a fraction compared to other songs on this album that are simply much better. Easter, Seasons End and The Space are beautifully crafted and can be considered highlights due to their highly emotional impact. Easter, perhaps the best Marillion song of all time, is built around graceful acoustic guitar work that, together with the warm vocals and clear keyboards, creates a somewhat Celtic atmosphere. The bass and drums provide subtle dynamics and the guitar solo is breathtaking. The ending of the song, played in 5/4 time, is intriguing. The opener, The King of Sunset Town, already demonstrates the beauty of how all the sounds merge together and in the arrangement of Easter, a bagpipe is present, albeit in a minimal role. As for The King of Sunset Town, the swelling intro leads to a majestic guitar theme that reflects the unleashed energy of everyone involved.

The band handles accessible tracks like The Uninvited Guest with finesse, with Rothery tantalizing the taste buds with one of his many guitar solos. However, Marillion elevates the album to heavenly heights with the atmospheric title track. This eight-minute oasis of melancholy is pure restraint. The vocals in the first part are touching, the guitar solo is heartrending and the atmospheric horn sounds from the keyboards evoke a sense of euphoria without overwhelming the song with bombast. The nearly instrumental finale exemplifies the inspired nature of Marillion. In an almost hypnotic underlying tension, a kind of resignation is expressed. The keyboards tinkle, the guitar wails and the bass notes propel forward until a fade-out immerses the song into infinity.

The somewhat inconspicuous Holloway Girl is the perfect follow-up to the emotional blast of the title track. It ends before you realize it and the powerful Berlin takes over. The atmosphere can be described as menacing and, in a certain way, pleasantly aggressive. Special attention should be given to the subtly sung line and we wake up without you, we wake up without you with a hole in our hearts, where Hogarth once again leaves a strong impression.

Through After Me and the energetic Hooks in You, the band arrives at the impressive closer, The Space. Short, rapidly succeeding brass sounds from Mark Kelly form the main theme that culminates in a massive climax with a supernatural performance by Hogarth. "Seasons End" can be seen as a transitional album after the Fish era and therefore represents the best of both worlds. Later, Hogarth would have more influence as a composer, leading to albums like the pop-oriented "Holidays in Eden" or the dark masterpiece "Brave", making "Seasons End" the album from the Hogarth era that most closely aligns with the authentic Marillion.

Orginally posted on www.progenrock.com