The major effect of the
pre-funding was that Marillion did not have to sign on with any of the deals
they were being offered by record companies. The band paid for the making of
the album, the producer of choice - Dave Meegan - and the wages of the band and
their staff with the fan's money. It also meant they were able to go to EMI,
their previous home, and get an advantageous distribution deal from them.
Additionally, the band was
able to keep its own song rights, rather than signing them away to publishers
for a short term gain.
The full story of this
remarkable album can be found on the Marillion website at
http://www.marillion.com. For anyone who, reading this in the future, thinks to
themselves - 'But this is how most albums are funded..!', remember it started
here, with Marillion, a band often derided for allegedly living in the past...
And so, on to the album
itself... What did we get for placing our faith in the band?
Anoraknophobia is the most interesting, absorbing
and contemporary album from the band in many years. Free from record company
pressure to write another Easter, or
Kayleigh ,
the band produced an album full of new sounds, new methods of writing and new
magic. I remember hearing Quartz, Between You and Me and Map of the World at Dingwalls in Camden,
London, a few weeks before it was released. My heart leapt. Everything I could
have asked for appeared to be coming true.
And then it dropped
through the door. On my first listen, my love for the band was rekindled. It
had seemed to me that the band had been in the slight doldrums for a couple of
albums - not that there wasn't magic to be found, but it didn't seem to be
there in every song. But now it was back. From the opening chords of Between You and Me, to the dying embers
of the last seconds of If My Heart Was A
Ball, It Would Roll Uphill, it was back. Funky, grooving, rollicking...
Great big fat slabs of bass, the thunder and crack of the drums, the crunch of
Steve Rothery's guitar, Mark Kelly's atmospheres and, of course, Steve H's
plaintive, emotive voice.
Themes on the album are
varied, but centred around the pivotal notion that gave rise to the title. Anoraknophobia - A fear of anoraks,
right? A dislike of the trainspotter, yeah?
Uh-uh. Nope. H says:
"[...] to declare a passion is to expose yourself to ridicule, and I
personally would much rather have a world full of people that were passionate
and believed in something and cared about something, than a load of
two-dimensional types who stood around smirking and pointing at other people. I
really just wanted to say, 'We know you're all anoraks, and there's nothing
wrong with it! We're anoraks too!'"
The point of the title Anoraknophobia was no fear of it. "Anorak
no phobia".
Cover notes: The simplest cover Marillion have ever produced.
Cartoony, primary coloured, it eclipses even Brave, in this respect. The font is a simple san serif, Arial style
font, with no messing about with it.
Featuring nine, differently coloured versions of the anorak 'Barry', the cover seems to have divided the fans. As a fan of the Mark Wilkinson artwork, my initial reaction was one of 'What is this?' However, he grew on me.
One complaint that is reasonably valid, is that Barry bears more than a passing resemblance to a certain unlucky character in South Park. Sure stands out on a CD rack in HMV, though. Especially if you happen to be the sort of person who accidentally ensures your favourite band's CDs end up at the front of a section...
It has subsequently come to light that Barry wasn’t an entirely original creation. In fact, he was actually stolen from a Japanese Nissan commercial against car crime; ‘Barry’ had the coat hanger in order to break into cars!
Featuring nine, differently coloured versions of the anorak 'Barry', the cover seems to have divided the fans. As a fan of the Mark Wilkinson artwork, my initial reaction was one of 'What is this?' However, he grew on me.
One complaint that is reasonably valid, is that Barry bears more than a passing resemblance to a certain unlucky character in South Park. Sure stands out on a CD rack in HMV, though. Especially if you happen to be the sort of person who accidentally ensures your favourite band's CDs end up at the front of a section...
It has subsequently come to light that Barry wasn’t an entirely original creation. In fact, he was actually stolen from a Japanese Nissan commercial against car crime; ‘Barry’ had the coat hanger in order to break into cars!
Click to access album
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