‘Seasons End’: How Marillion Embarked On A New Era

The recording: “It was just like being on holiday”

The recording of Seasons End took place in the summer of 1989, at Hook End Manor, a 16th-century country house in Oxfordshire that had been converted into a recording studio. Working with co-producer Nick Davis, the band quickly and painlessly laid down some tracks in a matter of weeks, making the most of the manor’s relaxed and secluded environment to hone their new sound. “It was just like being on holiday,” drummer Ian Mosley remembered. “We just played tennis every day and built hot-air balloons.”

Despite the absence of Fish, there was some continuity in that many of the songs on Seasons End had actually been written before his departure. Steve Rothery would often turn up to rehearsals with a bundle of demo cassette tapes. “I’d say maybe 70 or 80 per cent of the material was already written when Fish was still in the band,” Peter Trewavas later told Prog magazine. Knowing how much Fish’s lyrical stylings would be missed among Marillion fans, a friend of the band, John Helmer (formerly of Brighton-based punk act The Pirahnas), was asked to pen some lyrics in his stead. This proved to be a master-stroke, as Helmer’s writing style was a good fit for Marillion’s new direction, cramming their songs with poetically cryptic touches (The Space…) and steeping them with socially-potent metaphors (The Uninvited Guest).

The first Marillion single to be released with Steve Hogarth as lead singer was Hooks In You. Released in late August 1989, the song boasted spider-life guitar riffs and a beefed-up 80s pop-rock sound that showcased Hogarth’s roof-raising pipes. Peaking at No.30 in the UK, Hooks In You was a radio-friendly burst of third-wheel angst, with lyrics written from the perspective of a friend watching helplessly as his friend falls victim to the wiles of a femme fatale.

Capturing their vision on tape, Seasons End had all the ingredients of a classic Marillion album, hopping majestically from the soaring and melodic epic The King Of Sunset Town to the haunting and atmospheric ballad Easter. While there was some uncertainty about how their new music would be received following their divorce from Fish, Steve Rothery would later describe Seasons End as Marillion’s “wedding album”. “We’d all just met,” the guitarist explained, “and we’re having a whale of a time.”

The release: “I really did think I’d get nailed”

Released on 25 September 1989, Marillion’s fifth album, Seasons End, entered the UK charts at No.7 and ushered in a completely new era for the band. Not only was new singer Steve Hogarth a handsome piece of MTV bait, but his voice felt more attuned to the clean-sounding production values that were dominating ballad-oriented rock throughout the 80s. By experimenting with more modern sounds and textures while still staying true to their progressive-rock origins, Seasons End marked a moment of rejuvenation for the group.

Fuelled by the same mercurial and enigmatic spirit that had characterised Marillion’s early years, The Uninvited Guest was released as Seasons End’s second single, in November 1989. With John Helmer’s timely lyrics addressing the AIDS epidemic from the perspective of the virus itself, the song reached No.53 in the UK and boasted one of Steve Rothery’s most shred-heavy solos to date. Infused with the band’s trademark arpeggios, The Uninvited Guest highlighted how the best Marillion songs would continue to tackle thought-provoking and socially conscious themes.

Unsurprisingly, the album’s success was not limited to the UK, as it also gained significant traction in other parts of Europe, particularly in Germany, where it reached No.11. Seasons End’s popularity further solidified Marillion’s position as a major force in the European prog-rock scene; with its polished production style, the album opened the door to a new era of sonic exploration, splicing Marillion’s progressive-rock DNA with the Whitesnake-like forcefulness of commercial pop-rock.

As Marillion headed out on tour to promote the album, Steve Hogarth found himself playing to sold-out venues across the continent, but admitted he wasn’t sure if fans would welcome him with open arms. “I thought I’d get nailed,” he admitted, knowing how difficult it would be to fill Fish’s shoes. Thankfully, Hogarth’s fears were quickly put to rest, as he soon won over the band’s fanbase with his dynamic stage presence and powerful vocal range.

Released in March 1990, the third single lifted from Seasons End, Easter, saw lyricist John Helmer tackle The Troubles in Northern Ireland, taking inspiration from a poem by WB Yeats. An electro-acoustic ballad channelling the spirit of folk songs sung by Jacobite rebels, the song peaked at No.34 in the UK and saw Hogarth address the violence at the heart of civil disunity with undeniable compassion (“What will you do with the wire and the gun/That’ll set things right when it’s said and done?”).

Cementing Marillion’s place as one of the most innovative and enduring bands in the history of progressive rock, Seasons End would go on to sell over 100,000 copies in the UK and marked a significant turning point for the band. By introducing fans to their new vocalist, the album widened Marillion’s commercial scopes while remaining loyal to their neo-prog roots. A masterclass in reinvention, Seasons End brought a new freshness and vitality to the group’s music, paving the way for the Hogarth era and proving that Marillion would continue to be a force to be reckoned with.

Buy the ‘Seasons End’ deluxe edition box set.