MORE GRAINS OF SAND

Tortured vocals and related Rothery guitar sounds will please any fan of the genuine "Marillion". This is mostly experienced during "Birthday Party" which is really close to the spirit of "Script" (the album).

This easy listening prog won't captivate the progheads looking for intricate and complex music, but as I have said in my review of their debut, there must be music for all tastes. And this album is rather on the good side.

Once you have accepted the high-pitched tone of voice of Aluisio Maggini you'll be embarked for a joyful ride. It is true that those guitar-oriented solo have a definite "Pendragon" scent, but there is nothing wrong with this. When a number is a bit weaker, a great solo will highlight it like during "Eagles".

There is a strong emotion that emanates out of "Hold Me Tight". Vocally and instrumentally. Just too short IMO. Some more of these great guitar sounds would have been welcome. Still, it is one of my preferred song from this album.

The second longest song of "More Grains of Sand" allows for a deeper architecture. It is more elaborate and features some good and advanced drumming. The global and positive feeling about this work is reinforced even if the mood is very much the same throughout the album. "No Place for Flowers" holds Banks oriented synthesizer parts which are quite pleasant but déjà vu of course.

As on almost each track, Lele Hofmann is displaying some wonderful guitar notes. This is the highlight of this band. Their music is really lifting off while these enter the scene. The more, the better.

After two shorter and weaker tracks ("The Outermost Bounds" and the popish "Fly Man"), the band gets back to a more elaborate piece of music again (The River in Your Eyes). Very pleasant Spanish acoustic guitar introduction and sweet vocals fully reminds of "Pendragon". It switches to a more rocking pattern (even heavy) for a while. And, very predictably a sumptuous guitar break is closing this good song, even prolonged into the short instrumental "Grain Dance". Because there are no interruption between the tracks.

At this time of the album, some sort of uniformity becomes more and more difficult to bear. "The Prisoner's Victory" is just saved by Hofmann again. It is not easy to captivate the listener for over sixty-five minutes (and not sixty-one as totalized in the album's presentation). I had the same feeling already with "Hologram" (although it was noticeably shorter).

This is probably not a major album. A good neo-prog offering miming some of the best in the genre. Three stars.

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