Marillion/Kanagawa,Japan10.20.2017

MARILLION made its miraculous visit to Japan in 2017 for the first time since 1994. The best live album vacuum-packed from that historic first day will be released. Currently, the latest live album that came to Japan for two consecutive years has become a hot topic, but this work is different from that, as it was recorded one year ago. This is the best audience recording of “October 20, 2017: Club Citta Kawasaki”. “KAWASAKI 2018 2ND NIGHT”, which has a similar title, will also be released normally, so let’s organize the two visits to Japan together. [2017]・October 20th: Club Citta Kawasaki ★This work★・October 21st: Club Citta Kawasaki [2018]・September 13th: ZEPP Namba “OSAKA 2018”・September 15th: Club Citta Kawasaki Kawasaki, September 16th: Club Citta Kawasaki “KAWASAKI 2018 2ND NIGHT” and above, 2 performances + 3 performances. As mentioned above, 2017 was his third visit to Japan, the first time in 23 years. What is included in this work is the scene of the first day, which broke the long blank of almost a quarter of a century. This work, which recorded a historic show for Japan and MARILLION, is truly the finest audience recording. In fact, it is a work by the same master as the latest recording “KAWASAKI 2018 2ND NIGHT” released at the same time, and he is a person who has left a large number of masterpieces in the Kanto area, especially at Club Citta Kawasaki. The thick core, which is worthy of being called a so-called “sound board,” dives straight in and is truly powerful. Still, it has a wonderful sense of stability that doesn’t shake at all, and the details are super delicate. If you pick up this work, please pay attention to the sound of the cymbals. The sharpness of the hitting sound is so sharp that you forget the existence of air, and the vibe is so delicate that you can see the waveform. It is recorded neatly until it disappears one by one. Of course, this is just an example. The guitar is so close that you can feel the trembling of the strings, and the bass has a melodic line and even the nuance of attack. Only the vocals feel a little distant, but this is probably due to the balance of the on-site PA. There is no sense of distance between the musical instruments, and it is a direct sound that is extremely sound board-like. However, this work is definitely an audience recording. The proof of this is the extremely tense atmosphere at the scene. Although there was a great ovation from the start of the performance, it was not so much enthusiasm as the tension that had arisen from the long hiatus. Then, as the suite “El Dorado: I-V” began, a silence dominated the venue, as if you could hear the rustling of clothes, and there was a tense atmosphere of not wanting to miss a single note. When “El Dorado: I-V” is completed, there is a warm applause, but it also feels like a sense of release and relief after being overwhelmed by the magnificent worldview. The mood is more like a legendary band’s first visit to Japan than a return visit to Japan after 23 years. What further enhances this mood is actually the show itself. As with this year, the two main suites are “El Dorado: I-V” and “The Leavers: I-V”, but in addition to that, a large number of recent songs will be played. In fact, the only songs released before their last visit to Japan in 1994 were “Wave/Mad” and “Sugar Mice.” It is not a nostalgic masterpiece, but a show that introduces “MARILLION that Japanese people do not know” all at once. Among them, the masterpiece “MARBLES” is particularly featured. This year’s live albums “OSAKA 2018” and “KAWASAKI 2018 2ND NIGHT” that we are introducing do not have a single song, but in this album, “You’re Gone”, “Fantastic Place”, “Neverland”, and “The Invisible” are included. Man” and performed four songs. In particular, in the final part, “Neverland” and “The Invisible Man” are played in quick succession for over 10 minutes, making it a highlight of this work. Furthermore, the repertoire includes the title song of “SOUNDS THAT CAN’T BE MADE” and numbers such as “Man Of A Thousand Faces” and “King” that were not performed this year. What did they want to deliver to Japan for the first time in 23 years? That is the show that is conveyed silently. Rather than a reunion after 23 years, it was my second visit to Japan for the first time. This is a masterpiece that vacuum-packs such a historic night with realistic and exquisite sound. It’s a difference in just one year, but it’s a live album with a completely different expression from this year’s relaxed show. Live at Club Citta, Kawasaki, Japan 20th October 2017 TRULY PERFECT SOUND(from Original Masters) Disc 1 (62:52) 1. Intro 2. El Dorado: I. Long-Shadowed Sun 3. El Dorado: II. The Gold 4 . El Dorado: III. Demolished Lives 5. El Dorado: IV. F E A R 6. El Dorado: V. The Grandchildren of Apes 7. You’re Gone 8. The Leavers: I. Wake Up in Music 9. The Leavers: II The Remainers 10. The Leavers: III. Vapour Trails in the Sky 11. The Leavers: IV. The Jumble of Days 12. The Leavers: V. One Tonight 13. Fantastic Place 14. Wave / Mad 15. Afraid of Sunlight Disc 2 (66:37) 1. MC 2. Sugar Mice 3. Sounds That Can’t Be Made 4. Power 5. Man of a Thousand Faces 6. King 7. Neverland 8. The Invisible Man