Prog & Progeny

Mark and Tallulah finish Sounds That Can't Be Made. Why Power's lyric leaves Mark cold, how Mike Hunter pulled a buried vocal melody out of Invisible Ink, the home piano noodle that became The Sky Above the Rain, and whether Montréal deserves the bad press.
If you click on this link before listening to the podcast you will probably wonder what that has to do with Marillion: https://www.sciencedaily.com/releases/2026/04/260406192809.htm

We jump forward to 2012's Sounds That Can't Be Made. We discuss the writing and recording of the first half of the album track by track.

We wrap up our two-parter on Marillion's 1983 debut, moving from the songs the band left behind to the reasons they did. Also, the gear and the studio decisions that shaped how the record sounds, where Fish was drawing his lyrics from, and what it's like to hear your first album again 40+ years on.
Links: The Web trumpet interpretation by Gil Pinatel that we discussed in this episode can be heard here https://youtu.be/LDW5K4Wx8bc?is=2Gb5JlemgdmCcqMu

A short catch-up episode. Mark and Tallulah discuss their Pompeii experience — the choir, the pre-show keyboard crisis, playing "Sugar Mice" in the rain — plus podcast meetups, the UK tour and more...

Mark and Tallulah deep dive into Script For A Jester's Tear, Marillion's 1983 debut — six songs, forty-six minutes, more chaos than the record lets on. Razor-blade multi-track edits, £1,000 for Trevor McDonald was too much, a secret backwards message meant only for Kayleigh, and stories behind Mark Wilkinson's cover art. Plus: plague pits, a stolen Small Faces melody, and the bass fluff that made the final mix.

He Knows you Know early demo - https://www.youtube.com/watch?v=8l507pRZEz4