Quick Take Mark Kelly's Marathon

Mark Kelly’s Marathon

In Marillion circles, "Mark Kelly's Solo Album" had almost become the Five Spice of musical projects – mentioned a few times, yet left languishing at the back of the cupboard. Whilst COVID will not be remembered fondly, we can perhaps thank the global pandemic for allowing this gem to emerge from the shadows.

As a work, the album gives the impression of something that evolved, building flesh around the bones of a concept: in this case that of Amelia Earhart, the pioneering aviator who went missing in 1937, somewhere over the Pacific Ocean. The story jumps from past, to present then future, beginning as investigators look for clues in a real handful of bones, in a sextant, in a bottle.

Musically, I have to say, Marathon is not what I expected. Sure, Mr Kelly’s keyboards are present from the start, from soundscapes, to riffs and piano interludes. But they are not omnipresent: this isn’t a vanity project. Rather, it’s clearly the efforts of a collective, and a different one to his usual band. Oliver M. Smith’s vocals are simultaneously gritty and gentle, with harmonies from two lead guitars (from Pete Wood and John Cordy) creating additional distance from Los Marillos. Conal Kelly plays a mean bass, and Henry Rogers underpins the work with his trademark mutilayered drums.

Back to the story, credit needs to be given to Guy Vickers, who wordsmithed the lyrics to fit the music without losing their narrative, ‘spoken word’ rhythm (which Oliver picked up and ran with). The result, both musically and lyrically, is an album that feels both familiar and different, and, most importantly, one that begs to be played again when it comes to an end.