Its albums have ranged from the uplifting (1985's masterpiece "Misplaced Childhood") to the intensely depressing (1994's excellent "Brave"), and within its albums the band has explored musical styles from poppy (1992's "Holidays in Eden") to progressive (1984's amazing "Fugazi").

Due to the way its chameleon-like musical style carries a different theme from album to album, though, popular success has eluded Marillion. The band is firmly entrenched in "cult" status, which means average listeners have yet to experience what this band has to offer.

However, this may soon change, as the band's LP "This Strange Engine" finally has been released in the United States. Problems with U.S. record companies delayed the album's launch here (it has been out in the rest of the world since April), and the band already had completed its U.S. tour well before the album’s domestic distribution. Make no mistake, though: "This Strange Engine" may be the band's best chance at a commercial breakthrough in years.

Many of the tracks on the album have a distinctly radio-friendly aura about them. The opening track, "Man of a Thousand Faces" (also the first single), rings with a pop savvy the band has been missing since "Holidays in Eden" (the track's nearly eight-minute running time may seem contrary to this, but the radio edit is much more accessible to a casual listener).

The second single, the Beatles-esque "80 Days," is even better suited to getting the band over. It is a devilishly well-written song that would fit seamlessly onto any AOR playlist.

However, as is always the case with the band, the album as a whole is the focus, and the poppier songs are counteracted with more thoughtful, diverse and introspective numbers.

"Estonia" bears some reflective lyrics and has music to match the mood set by the words (a Marillion trademark). "One Fine Day" also features a subdued mood and presents the problem of waiting for the future.

And then there is the title track, a sprawling 15 1/2 minute epic that features several distinct sections, each of which evokes a different mood, and the song resolves itself in an uplifting finale.

The performances throughout are excellent, most notably the gripping, dramatic vocal contribution of Steve Hogarth. Since joining the band in 1989, he has established a reputation as one of the best singers in the world.

He has distinguished himself on tracks like "The Space ..." (from 1989's "Season's End"), "Brave" (from the album of the same name) and "Out of This World" (from 1995's "Afraid of Sunlight").

His string of impressive outings continues here with tracks like the gritty "An Accidental Man," the energetic "Hope for the Future" and the near-solo "Memory of Water."

Keyboardist Mark Kelly also stands out here, employing a wide range of tones to convey the band's message. Within the song "This Strange Engine," for example, he uses a piano, a Hammond Organ, string synths, Moog leads and even a Bell voice.

Steve Rothery turns in some beautiful guitar leads (most notably the second solo on the title track), and bassist Pete Trewavas and drummer Ian Mosely are rock solid, as usual.

There are some minor problems, though, but nothing that detracts from the overall enjoyment of the album. For example, the ride-out on "Man of a Thousand Faces" is slightly longer than it needs to be.

Also, Rothery's normally prominent guitar leads are almost completely missing in action. Rothery's solos are some of the most tasteful and compelling ever recorded--check out "Incubus" (from "Fugazi"), "Easter" (from "Season's End") or "Falling from the Moon" (from "Brave") to see for yourself.

By comparison, Rothery is criminally under-utilized on "Engine," a problem that will hopefully be corrected on the band's next album.

It should be noted here that future pressings of "Engine" will feature two bonus tracks, acoustic versions of "Beautiful" (from "Afraid of Sunlight") and "Made Again" (from "Brave"). The first pressing, however, lacks these numbers, instead featuring roughly 15 minutes of dead air after the final song.

"Beautiful" is incredible, but "Made Again" is not much different from the studio version. Still, waiting for the bonus tracks is probably recommended.

This is an outstanding, classy album produced by a veteran band that actually still has plenty to say. It is definitely a worthy addition to any collection.

The Used Rack

Marillion-related artists whose work may or may not be residing in a record store near you.

Fish

Marillion's former lead singer (he left the band in 1989) is now a solo artist of some renown. In addition to appearing on Genesis keyboardist Tony Banks' solo albums, he has seven releases of his own under his belt, including this year's "Sunsets on Empire."

However, the best places to start with this Scotsman are the two compilation albums he issued in 1995, "Yin" and "Yang." They feature mostly re-recorded versions of Fish solo tunes, with some classic Marillion tracks (such as "Kayleigh," "Sugar Mice" and "Incommunicado") given the same treatment. These compilations were given much more care than many others and are definitely worth checking out.

The Europeans

Steve Hogarth played keyboards in this pop-rock outfit from the early ’80s. The band members issued two albums, "Vocabulary" and "Recurring Dreams," and went their separate ways.

Hogarth and Europeans guitarist Colin Woore then formed How We Live, in which Hogarth took the lead vocals for the first time and released the album "Dry Land." It bombed horribly, and How We Live soon died.

The bands are really only notable for the fact that Hogarth was in them and because Marillion has re-worked a Europeans song (it became "The Space ...") and re-recorded a How We Live song ("Dry Land").

The Europeans and How We Live albums are now unbelievably hard to find and are therefore highly sought by Marillion fans.