QUICKSILVER – THE MASQUERADE MACABRE

‘beautiful’

Justin Vivian Bond

‘nouveau cabaret’

Vince Clarke

‘A beautiful, must-have album.’

David Hoyle

‘a debut album of dark beauty’

Pride Life Magazine

‘an adventure into the mind of a magician’

Independent Music News

‘dark wave, jazz, burlesque, glam… he has defined his own niche’

Music Review Unsigned

‘an eclectic mix, injecting heart and humanity into a plastic pop world’

Gay Times

‘the whole album just exudes quality… entertains and enthrals repeatedly’

Fireworks Magazine

‘It's nothing if not over-the-top glam, but for a man who, vocally at least, styles himself as something of a cross between Bowie and a circus ringleader, you wouldn't expect anything less.’

Sound on Sound Magazine

 ‘His songs are embittered, tear stained tirades about meaningless sex, excess and the ensuing emptiness… As fragile as he is aggressive, Reeves’ lyrics speak in polemic black and white of ‘lover’ and beloved’, ‘lust and loss’ and ‘pleasure and pain’ but there is something in his stage presence that feels far more complex…’

Imaginadium 

 ‘Quicksilver absorbs the Divine David, David Bowie’s Halloween Jack and Gilbert and Sullivan’s topsy-turvy sorcerer into a complex meld of melancholy and menace… he takes us on a phantasmagorical rollercoaster ride from a dystopian big top to contemporary emotions via rock ‘n’ roll psychoanalysis, transmogrifying from camp to cool very smoothly – not an easy metamorphosis. The songwriting is enviably accomplished: the song ‘Radio Head’ has a hook that once heard will not budge; ‘Gone’ goes straight to the tears ducts and ‘Quicksilver’ is ticklishly menacing.’

David McAlmont 

‘Marcus Reeves presents the live version of his debut album, Quicksilver - The Masquerade Macabre, a sequence of post-glam ballads he describes as 'a sonic threesome between Aladdin Sane, Hedwig and The Phantom of the Opera in striking glitter-chic. It's an impressively ambitious undertaking, wide-ranging in its musical choices, with catchy and moving results; striking in its theatricality, balancing ballsy showmanship with personable charm; and provocative in its take on modern relationships and ego.’


Time Out (Critics Choice)