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- R. Schuster - A Worthwhile Remix of an Already Great Album"Radiation" is often unfairly thought of as one of Marillion's lesser albums, particularly in comparison with "This Strange Engine" and "Holidays In Eden". I find this odd, because those latter two albums are . . . well, not very good at all and have maybe four or five good songs between them. Even without comparing "Radiation" to anything else, it's a solid, powerful, and engaging album that tended to get overlooked because it was the mid-to-late-90s, the mix was a bit lacking, and people were still convinced that Marillion had spent itself after "Afraid of Sunlight".
This new mix really does this fantastic album justice, and it should hopefully convince the naysayers that this is, in fact, one of Marillion's best albums. There are keyboard, guitar, and bass parts that were just lost or buried before; Steve Hogarth's vocals have a presence that just wasn't there before. And just for posterity, the original mix is *included* here too, so this isn't one of those cases of "loudening" up an old album in order to convince teenagers that it's actually "heavy".
Beyond the mix, these are just phenomenal tracks. "Costa Del Slough" and "Under the Sun" are a remarkably funny, clever treatment of climate change in a way that doesn't beat you in the face with the message. "Three Minute Boy" is a song about the pitfalls of fame reminiscent of material from "Afraid of Sunlight". "The Answering Machine" is the upbeat love-and-loss song to serve as counterpoint to the down-tempo pair of "Now She'll Never Know" and "These Chains". There's "Born to Run", which is, I think, the only bum track here; I try not to skip it, but it's tough. Oh well, you can't win them all. "Cathedral Wall" is sprawling and full of sharp, dynamic turns; lyrically, it's more lost love, comparing it to religious devotion and the cold comfort of a stone church wall. Finally, you have "A Few Words for the Dead", the epic closer, which zooms out from the personal struggles that most of the album deals with and talks in generalities like "Under the Sun", this time about calling for nonviolence and love, rather than perpetuating the cycle of violence, in the face of adversity.
Honestly, if things were tied together a little better, I might think this was a concept album, but even so, it is remarkably cohesive and a good listen all the way through. Muiscally, there's a lot of The Bends-era Radiohead and the Beatles here, but that's really nothing new with Marillion: they wear their influences on their sleeves, and it's not like they are ever just just stooping to pastiche. I know I made a joke about it before, but this *is* actually the "heaviest" Marillion album since "Fugazi", and for a band that isn't generally known for being "heavy", it works really well. Especially after the cheese-fest that was "This Strange Engine".
I do think that everyone who didn't like this album the first time around should give it another shot, and they'll find a wonderful, overlooked gem in Marillion's catalogue. Anyone who hasn't heard it, well, this is actually a great entry point for Marillion's discography; it's less dense than "Brave" and "Afraid of Sunlight", and more stylistically cohesive than "marillion.com", "Anoraknophobia", and "Marbles", so it's something anyone could pick up and listen to.
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