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Sounds That Can't Be Made

Special Hk ed.

Marillion Format: Audio CD
4.5 4.5 out of 5 stars 453 ratings
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Editorial Reviews

This special edition of includes a bonus disk of acoustic recordings and live performances.

Product details

  • Is Discontinued By Manufacturer ‏ : ‎ No
  • Language ‏ : ‎ English
  • Product Dimensions ‏ : ‎ 4.86 x 5.69 x 0.41 inches; 4.32 ounces
  • Manufacturer ‏ : ‎ EARMUSIC
  • Original Release Date ‏ : ‎ 2017
  • Date First Available ‏ : ‎ September 28, 2013
  • Label ‏ : ‎ EARMUSIC
  • ASIN ‏ : ‎ B00FE1ULQ8
  • Number of discs ‏ : ‎ 2
  • Customer Reviews:
    4.5 4.5 out of 5 stars 453 ratings

Customer reviews

4.5 out of 5 stars
4.5 out of 5
453 global ratings

Top reviews from the United States

J. Rupe
5.0 out of 5 stars Obvious Punny Title - Sound that Was Made
Reviewed in the United States on May 2, 2014
Verified Purchase
Gaza was the song that made me buy this album. And this album made me a Marillion fan.
About 20 years ago, I won a Marillion tape from a radio station. Listened to it a few times, thought it was okay, but it wasn't my favorite thing to listen to. Years later, I listen to a prog station and hear this Gaza track, which causes me to check out the album on Amazon. Added it to a cart to pad an order for free shipping, and now I listen to this album most every evening. Now my wish list is full of Marillion. And this was the best purchase on the entire shipment; who would have thought.
So maybe one reason I like the new stuff so much more is the singer is different than they had way back on that tape. This guy has a voice that is interesting, far more so than most. I can't describe it, so you just have to listen to know what I mean. He has been around for awhile, so there are a lot of works out there to buy with this lineup. But I find now I like the older stuff with the other singer as well. Where is that tape I had?
And the production is more than decent on this album. I am very picky about the production. I will listen to bad songs that are well produced well before I will listen to songs I like that are poorly produced. I do listen to this album most every night.
Instrumentation is full, complete, enjoyable, all that it could be. These guys have talent; they can write and play.
So Marillion fans already know to buy this album. This review is for prog fans who didn't think they like Marillon. Buy this CD to pad an order, then fill your wish list with the full catalog like I did.
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Seaguy3000
5.0 out of 5 stars Just...AMAZING...
Reviewed in the United States on November 5, 2017
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Five years after being released, this magnificent, sumptuous, and gorgeous album still holds sway on my entire being. Having never previously owned any Marillion, discovering STCBM was an amazing find for me. Being born "late '58", Marillion was one of those post-prog groups (like Dream Theater) I never got into; they were "past my time" in a way. I much preferred the Prog of the late '60's-mid '70's. And I've found in life that there really isn't time to fully listen to, and love (live with) SO much music as it is. So, some bands I never got into.
But when STCBM was released, I heard about it from PROG magazine...and immediately gave it a chance. And what a discovery this was, and still is!
It's difficult to write about the feelings of music. But this album, simply, is powerful. Not heavy rock, but heavy in meaning. It's gorgeously written, played and produced. Sometimes the album sounds like one entire uninterrupted work of music....and then there are moments of glorious wonder (e.g., at the 3:00 mark in the 3rd track, "Pour My Love": the way that song goes into this magical aside for a short time ("In a place where flowers rot and die......" and "..There is still YOU..."). I never cease to get chills. Same with the controversial album opener, the epic "Gaza"; as I tend to side with Marillion on this political issue, I can't help but become sad, but hopeful, at every listen.

I'm telling ya, at the old age of 59 years, every time I pull this album out, and listen to it for several weeks until I shelve it away for a later time, I am never disappointed. It is amazing.
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Nicholas Atwood
4.0 out of 5 stars Sounds I'm Glad They Still Make
Reviewed in the United States on October 4, 2012
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For diehard Marillion fans and I do consider myself to be amongst them, we want to like everything they record. We want to like it before it comes out which is why we finance it and wait like children on Christmas Eve for our copies to arrive. They rarely disappoint.

The hype preceding STCBM was as intense as I ever remember, mainly due to the mass amounts of media we are now privy to. I dropped my $50 clams in August and my copy arrived the same damn day it was available for download. I've been through it now about 4 times and have a preliminary judgment to cast. There are a few songs that one immediately likes. The title track is terrific in every sense and the single `Power' is what we come to expect at a... Ahem, single. I don't believe they are trying to necessarily write a single, but I think they enjoy that short, radio-formatted powerful chorus ditty we have gotten on recent releases IE: Whatever Is Wrong with You and You're Gone.

I don't hear an EPIC Marillion song on this one. Many seem to equate a long song with being a progressive rock song, but I never understood that thinking. Not to mention one with that thought process is missing the point of who Marillion are. Montreal is long and is rather un-epic. I understand it's a post-cardesque tribute to a city they fell in love with but the lyrics are almost too simplistic and for all its pretty sections, it doesn't seem to make a great deal of sense in its length and structure. Again, I will learn to like it and sing along - but that is because I want to.

I am having trouble getting any vibe from Lucky Man or Pour My Love. The same way I couldn't buy into 2-3 songs from HITR and 1 or 2 from Somewhere Else. Gaza, as has been mentioned several times, takes some getting used to. Once you catch what's going on and have some familiarity with it, it certainly pays off. Invisible Ink is a nice song that I like well enough but still, isn't fantastic.

I don't usually like doing track by track reviews but in order to sum up the 3 out of 5 stars I SHOULD give it, it seemed necessary. I gave it a 4 because - I want to.

The Sky Above the Rain - very pretty. I especially like the piano loop and subtle signature Rothery guitar
behind it. Another simple lyric but powerful in its simplicity all the same. This will grow on me quickly.

A strong sense of déjà vu hit me many times during the listening of this, like the band borrowed from itself - note-for-note in some sections from earlier works. I kept hearing the end of Interior Lulu in the title track. I also notice it in some of the vocal melodies.

I want to like this and I do. The comparisons I've read to Marbles and AOS are baffling to me but to each his/her own. I do hope they don't hang it up after this. Seems there is still a lot of magic in the unit. While it's clear Hogarth writes vocals with having to perform them in mind, (and being a professional vocalist myself for the last 30 years, I don't blame him one damn bit) he still has a powerful and well-trained voice. His inflection relating to the lyric is always remarkable and I hear no slide in any of their abilities to perform and create.

I still have Rush and Marillion. My two favorite bands since I was a teenager. I, am a Lucky Man.
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Top reviews from other countries

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Tony Torres
5.0 out of 5 stars Marillion es garantía de calidad
Reviewed in Spain on April 11, 2021
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The media could not be loaded.
 Una gran disco de Marillion

La edición como es habitual en esta banda está muy cuidada.
Vinilos de 180 g Gatefold y con una producción fantástica.
Un disco que no defraudará a los seguidores de la banda aunque como yo, disfruten más la época con Fish
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Gis A. Bun
5.0 out of 5 stars A great album with more extras
Reviewed in Canada on March 17, 2014
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A few found Gaza a bit controversial to a point where the band included a message stating that they were not picking sides. But some fans did. Unsure how the track came across in Gaza. Also notable is the track Montreal. A bit more of an audio blog played to music but it comes off quite well [played twice at the Marillion Weekend music convention in 2013 in Montreal to huge applause]. The remaining tracks also fair quite well. Possibly their best work in the past decade.
Added to this release is a six-track second CD that includes a bunch of acoustic and live tracks [all tracks are from the studio album].
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BC65
5.0 out of 5 stars Songs that can be made !
Reviewed in France on July 19, 2014
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Fan de la 1ère heure (période Fish), j'ai eu de grosses craintes lorsque ce dernier eut quitté le groupe après Clutching at Straws. D’ailleurs, à dire vrai, les premiers albums avec Sieur Steve Hogarth ne m'ont pas emballé à la 1ère écoute. Vite écoutés, vite rangés. Puis vint Brave. Et là, je me suis dit : bon sang, ça n'a plus rien à voir avec Dereck mais dieu que c'est bon. IIs ont fait fort. Je me le passais en boucle. Depuis, n'en déplaisent aux inconditionnels du bûcheron, force est de constater que la plupart des meilleurs morceaux écrits dans l'impressionnante discographie du groupe provient de la 2ème époque. Cet album ne fait pas exception. Malgré la longueur de l'album, il passe à une vitesse ! Rien a jeter de la première à la dernière note. Encore un sans faute. Toujours inspirés, ces gars ont vraiment du talent et Steve Hogarth est à mes yeux définitivement loin d'être le maillon faible tant décrié à ses débuts. Rendez-vous au prochain opus !
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Gordon Frohman
5.0 out of 5 stars Ein tolles Album...
Reviewed in Germany on November 19, 2013
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...das endlich auch den Sound bekommt, den es verdient. Zu den Songs ist schon praktisch alles bis ins Detail gesagt; mit dieser späten Rezension möchte ich daher vor allem ein paar Worte zum Klang der neu erschienenen LP-Fassung verlieren.

An sich war auch schon vor einem Jahr vieles perfekt, angefangen bei der Musik als solcher bis hin zu der toll gemachten Limited Edition. Was mich allerdings bei der CD-Fassung ziemlich gestört hat, war der Soundbrei, der da teilweise angerührt wurde: so z.B. in den lauten Passagen von Gaza (inkl. clipping), durchgängig bei "Invisible Ink" (das ich mir bis dato überhaupt nicht anhören konnte), und leider auch bei "The Sky Above The Rain", das doch bisweilen recht anstrengend im Gehörgang war.

Damit das niemand falsch versteht: ich hielt STCBM schon damals für das beste Marillion-Album seit "Marbles", und mit einigem technischen Aufwand war auch ein Teil der Dynamik zu retten, aber der Sound wurde einfach der extrem hohen Qualität der Musik nicht gerecht.

Wie dem auch sei: nun brachte der DHL-Mensch also endlich die langersehnte LP vorbei (5.1 Bluray wär mal schön, u.a. auch ein bisschen zeitgemäßer... ), und schon sieht die Sache anders aus. Zuerst fällt die hohe Fertigungsgüte auf: die Platte liegt schwer in der Hand, wirkt wie aus dem Vollen geschnitzt. Gefühlt sind das noch weit mehr als 180g :-). Dazu kein bzw. kaum störendes Knistern oder Knacken, d.h. keine nennenswerten Rückstände oder Verunreinigungen in den Rillen. Beim Abspielen treten auch keine sonstigen Fehler, wie z.B. Springen oder Tonschwankungen, auf.
*EDIT* (auf den Kommentar M. Rohm hin): es sieht so aus, als seien die Labels auf Disc 2 grundsätzlich vertauscht. Ich war davon ausgegangen, dass es sich bei mir um einen Einzelfall handelt und hatte keinen Gedanken mehr daran verschwendet. Ist aber kein Beinbruch, ich lege die Scheiben sowieso nach Farbe der Labels auf: orange = S. 1, rot = S. 2, blau = S. 3, grün = S. 4 (d.h. eigentlich wäre blau die Seite 4). Ist abends im Dämmerlicht eh angenehmer, als die Nümmerchen zu entziffern. ;-)

Der positive Eindruck setzt sich sodann glücklicherweise da fort, wo er am wichtigsten ist: bei der Soundqualität. Ganz offenbar und wenig überraschend wurde zwar dasselbe digitale Ausgangsmaterial wie für die CD-Produktion verwendet, aber trotzdem klingt die LP-Fassung viel angenehmer. So wurden zwar die Drums im ursprünglichen Mastering ganz einfach verhunzt (das kriegt Mike Hunter einfach nicht auf die Reihe) und enttäuschen mit geringer Präsenz und kraftlosem Punch. Davon abgesehen ist das Klangbild aber wesentlich ausgewogener und runder. Ich möchte nicht auch noch an kleinen Details rummäkeln, die eher im Bereich der persönlichen Vorlieben liegen (z.B. die für meinen Geschmack zu geringe Räumlichkeit), denn irgendwas findet man immer, wenn man lange genug sucht. Stattdessen will ich lieber zusammenfassend feststellen, dass alles (und ich meine damit wirklich: *alles*) besser ist als vorher. Das ist doch mal was!

Praktisch alle Stücke haben deutlich an Transparenz gewonnen. Wo vorher hauptsächlich Vocals und Gitarre dominierten und den Rest mitunter vollkommen „erdröhnten“, sind die einzelnen Instrumente nun gut und ermüdendsfrei auseinanderzuhalten. Es ist ein leichtes, abseits der nach mehreren hundert Hördurchgängen sattsam bekannten Songstrukturen bei jedem neuen Durchlauf einen anderen Marillo herauszupicken und zuzuhören, was er da an seinem Instrument so macht. Selbst bei hoher Lautstärke drückt einem die schiere Lautheit nun nicht mehr gleich das Trommelfell zur Nase raus - ein Hoch auf die technischen Beschränkungen von Vinyl. ;-)

Mit Hyperlinks ist das hier ja so eine Sache, aber wer sich dafür interessiert, kann mal nach „DR database“ googeln und dort als Artist „Marillion“ sowie als Album „Sounds“ eingeben. Der klangliche Unterschied ist in der Tat genau so deutlich, wie er da in Zahlen ausgedrückt wird. Wie bereits angedeutet, wäre mir eine gut gemachte CD- oder Bluray-Fassung genauso lieb, aber als klangliche Alternative ist die LP- der CD-Fassung jedenfalls um Längen voraus - von dem tollen großformatigen Artwork ganz zu schweigen.
Völlig unverständlich: digitalisiert man die LP-Fassung und brennt sie auf eine CD, dann klingt sie immer noch weitaus besser als die originale CD-Version – obwohl für beide das gleiche Ausgangsmaterial verwendet wurde. Das soll jemand verstehen…

Fazit:
Wer einen Plattenspieler sein Eigen nennt, sollte unbedingt zur Vinylfassung greifen. Die Scheiben lassen sich auch mit recht geringem Aufwand digitalisieren (am besten als .flac), wenn man unterwegs nicht darauf verzichten möchte.
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Marc Lenders
5.0 out of 5 stars Quasi-Capolavoro
Reviewed in Italy on October 14, 2012
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Il titolo della recensione è eloquente e credo anche esaustivo, nel senso che dire che quest'album è un capolavoro (secondo gli standard odierni) non è un'eresia. Forse sarebbe più equilibrato definirlo un quasi-capolavoro, le vette raggiunte per gran parte del minutaggio sono notevoli, ma alcuni brani, pur complessivamente validi, danno l'impressione di essere "solo" il classico compitino fatto bene ed inevitabilmente tirano al ribasso il risultato finale. Si comincia con "Gaza" , 17 minuti e mezzo di pura poesia, un testo meraviglioso reso emozionate dalla musica sublime che lo accompagna. Il brano è dedicato alla popolazione di Gaza con particolare riguardo ai bambini come la band scrive nelle note a margine del testo. E già qui cominciano le prime difficoltà a far comprendere al potenziale lettore di cosa stiamo parlando. La prima conclusione potrebbe essere: una band riferibile al genere progressive che scrive un brano di 17 minuti. Niente di più classico e banale. SBAGLIATO!!! Qui non ci sono calcoli o stereotipi di genere musicale da rispettare, si tratta semplicemente di un brano che dura 17 minuti, un'espressione artistica che necessitava di questa durata per essere compiuta: qui si va ben oltre ogni tipo di classificazione. E poi sfido chiunque, rapito dalle struggenti note, con il booklet del testo in mano, a rendersi conto che il brano è durato così tanto.....
Si prosegue con la title track dove qualche pennellata delle sonorità del glorioso passato affiora quà e là, specialmente nei 2 assoli (testiere e chitarra). Altro brano notevole e che credo diventerà un classico delle esibizioni dal vivo. Le derivazioni pop dei Marillion recenti sono più marcate nella terza traccia dal titolo "Pour my Love", che seppur più leggera (riferito alla valenza artistica e non di digeribiltà dell'ascolto) tiene comunque alta la qualità. La bassocentrica "Power" è la canzone scelta come portabandiera dell'album in cui Trewavas fa la parte del leone. "Montreal" contende a "Gaza" la palma di brano migliore del disco ed anche qui siamo sulle lunghe distanze, nel senso che il brano dura ben 14 minuti, ed anche in questo caso la qualità è alle stelle. "Invisible Ink" e "Lucky Man", ottimi brani, ma danno l'impressione di riportare il disco sulla terra rispetto alle stelle dove fino quel momento si veleggiava. Per fortuna la chiusura è affidata a "The Sky Above the Rain" che ribadisce con forza la caratura stellare (per la gran parte...) della 17^ uscita discografica dei Marillion. A mio modesto parere è uno dei loro migliori album dell'era Hogarth e certamente una delle migliori pubblicazioni del 2012. Peccato per la scarsa compattezza, con un livello qualitativo omogeneo di tutti i brani forse sarebbe stato in grado di eguagliare "Brave" e "Marbles" che invece restano decisamente un spanna più in alto.
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