FUGAZI

As far as the Fish-era of Marillion is concerned, I tend to think of the first three albums (Script for a Jester's Tear, Fugazi, and Misplaced Childhood) as a trilogy of sorts with Clutching at Straws taking the form of an extended final chapter. The first three albums are not really connected in a strict way-although there are often recurring themes between albums-but this analogy is rather convenient when reviewing/comparing the albums. Both the first and last entries in the trilogy are exceptional, and fully display the songwriting capabilities of Marillion while they were at their best, but the middle chapter falls short in some areas. That's not to say Fugazi is a bad album or even average, as it is superb in many areas, but unlike Script for a Jester's Tear or Misplaced Childhood, it does have several weaker tracks.

I do have to give credit to Fugazi for one thing: Marillion takes a lot of chances with new sonic explorations and songwriting. While all of the songs on Script for a Jester's Tear were expertly crafted and written, there was indeed not much variation in the overall production or mood of the album. On Fugazi, the band sort of takes a huge jump into new territory, exploring new moods and feelings and how to present them in a musical format. Several songs work so well that they deserve a place at the very top of Marillion's musical cannon, such as "Jigsaw," "Incubus," and the highlight of the album, "Fugazi." Most everything else on Fugazi is of very good quality, just not quite amazing. The one song on the album I just can't get into is "She Chameleon," a jarringly repetitive and dark exploration into the psychology of a relationship. It's definitely a departure from anything Fish-era Marillion had done or would do and the same applies to the Hogarth-era. I can respect the genuine feelings Fish is trying to express, but with such a dark theme, I'd appreciate the song more as a short interlude and not as a meandering 7-minute journey that goes nowhere.

As I mentioned earlier, "Jigsaw," "Incubus," and "Fugazi are the best Fugazi has to offer. "Jigsaw" is driven by a heartbreaking keyboard line and truly devastating chord progression. Absolutely brilliant! This is most definitely one of the most emotional songs I've ever heard, and certainly the most emotional on Fugazi. Fish is effective throughout the entire album, but on "Jigsaw" he gives a performance worthy of the highest reward. "Incubus" is best listened to for its excellent introduction and conclusion highlighting Mark Kelly piano, but it is also another song in which Marillion's sonic explorations work out for the better. "Fugazi" is a multi-section contemplation on just how screwed up the world really is. Fish vents a long of anger and frustration on this song, much in the same way as he did on "Forgotten Sons" from the previous album. The creative effects used for the guitar and keyboards and the variance in the styles and sections of the song indicates that the band is progressing and honing their skills, which would be put to full use on their next album.

"Assassing" begins with adventurous synth instrumentation and a refreshing take on world music, but sadly the song sort of simmers into a slightly punk (!?) but more or less new wave, beat-driven jam. There is a bit of a break in this beat for a solo/interlude spot, but this does little to aid the song. (As a side note, I highly recommend you try and search for Marillion's music video for "Assassing." Not only does it butcher out all the interesting parts of the song, but it is probably one of the most ridiculous pieces of film I've ever seen. Marillion were never really suited for commercial success, so it's interesting to see what happens when you try and mix the two together. The Eighties was such a great decade, eh?)

"Punch and Judy" is an interesting piece, more so because of the way it deals with marital troubles than its actual musical content. I never figured spousal abuse to be something you sing about over a bouncy beat, but it works out alright, though not spectacularly. An intriguing melody which is as mystical as it is appropriate begins "Emerald Lies," one of the better minor songs on Fugazi. It takes both the melodic and angry aspects of the title track and mixes them with just the right amount of darkness from "She Chameleon" to create a very balanced and varied piece.

So, Fugazi is definitely not a very strong point during the career of Fish-era Marillion, but there is a very respectable amount of classic material contained its 46 minutes. What may be more important than Fugazi actually being a classic album is that the band challenged itself with new ideas and techniques that would certainly come into play on their next album, Misplaced Childhood. Though Marillion were still inexperienced in these new techniques and explorations, they would hone their skills and create some of the best music ever to be found in the Neo Prog genre.