![]() It was a lucky coincidence for the band: Meegan proved to be the driving force behind the complex Progwerk as the "Brave" crystallized during the sessions. Since then he had made a name for himself with Trevor Horn's pop label ZTT - which is why Mander wrongly regarded him as a pop producer. He already knew Marillion, as he had worked as a young sound technician on the recordings of "Fugazi". Mander suggested Dave Meegan to the band as producer. I guess he planned to steer us in a similar direction." "He just worked with the rave band EMF, that was more his music. "Mander couldn't do anything with us," says keyboarder Mark Kelly. We talked about a rough album with corners, edges and above all short songs to swim along on the grunge wave. With Nick Mander, EMI had a new A&R man on the band, and he had clear guidelines: It should be as inexpensive and fast as possible. With Chris Neil it just wasn't what we had hoped for, so we were at a crossroads afterwards." Originally Chris Kimsey was supposed to produce, but he had a job at the Rolling Stones. We got a lot of bullshit about that, too. Drummer Ian Mosley remembers: "We had 'Season's End' with material that was mostly already there, so when it went to 'Holidays In Eden' we had an empty canvas in front of us that we didn't know how to paint. She also simply did not let the newly formed group grow together. The band had bowed to the pressure of the record company and recorded a catchy record with the pop-oriented producer Chris Neil, which was not only ambivalently recorded by the Marillion fans. "Holidays In Eden" hadn't really satisfied anyone. eclipsed spoke exclusively with Steve Hogarth, Steve Rothery, Mark Kelly and Ian Mosley about the creation of a dark masterpiece that has lost none of its fascination even after twenty-four years. After "Misplaced Childhood", Marillion's 1994 opus "Brave" is now also being re-released: as a luxurious boxed set filled to the brim with Steven Wilson remixes, a concert recording and a new documentary. ![]()
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