Finally, an interesting review of our new album ‘One Light Year’ on ProgArchives.com by Second Endeavour.
It’s taken eleven years to get MARYGOLD’s 2nd studio album, but I guess: it was well worth the long time of waiting. New issue entitled ‘One Light Year’ sounds like a logical continuation of familiar sonic aura; albeit, Italian quintet have expanded the tonal palette to enrich their musical approach. These lads have no problems, combining the calm melodies and subtle elements with instrumental sophistication and scattered hard-edged bursts.
Now comprised of Massimo Basaglia (lead guitar), Stefano Bigarelli (keyboards), Marco Adami (bass guitar), Marco Pasquetto (drums / percussion) and Guido Cavalleri (vocals), Marygold do everything in their own manner that’s important for the songs. Of course, I wanna dive a bit further into the overall aspects of this new release. Track-by-track.
The album begins with mid-tempo ‘Ants in the Sand’, where the emphasis draws from a diversity of musical strands. In the first place, it resembles old Marillion. After a while, the second half of composition brings very beautiful female vocals from Irene Tamassia, but that, in turn, abruptly revised to the pure instrumental part a’la rock’n’roll.
Next up, ’15 Years’ which moves along pretty close to the stylistic of Fish-era Marillion.
Extensive ‘Spherax H2O’ lasts for more than twelve minutes with excitiment going on. If any track on the disc may be compared with a bridge between Procol Harum and Genesis, this is it. Once again, the lead vocalist Guido Cavalleri manages to put a lot of emotion and disturbing simultaneously. Stefano Bigarelli shows his unerring sense for the keyboard atmosphere, while Massimo Basaglia delivers some excellent guitar playing. Alberto Molesini (the former bassist) on bass and Marco Pascuetto on drums confirm their strong rhythmical prowess.
The forth chapter ‘Travel Notes on Bretagne’ continues a gripping musical journey.
Definitely recognisable as a Marillion and Jadis conjunction, ‘Without Stalagmite’ presents the fascinating instrumental piece.
It’s followed by ‘Pain’, another reminiscent of early Marillion.
If that still wasn’t enough, сoncluding 11 + min. opus ‘Lord Of Time’ sounds like a pinnacle for the group. It stands out as the most vivid number on the whole album, being infused with sparks of vintage intrigue, multiplexed textures, grand synth layers, flawless guitar improvisation, clever rhythm backdrop, many tricks, overtones and slick sophistication.
Generally speaking, the tight interaction of all instruments and vocal work provides completeness in scope. To sum up: Marygold have returned with a solid album that’s clearly deserving of praise!