Markus Roth, born in 1962, grew up in a time of global musical upheaval. While new styles such as soul or twist were increasingly competing with classic blues and rock’n’roll in the American music scene, the beat was already appearing on the musical horizon in Great Britain. His 4 years older uncle, himself a drummer in a jazz rock band, introduced Markus to the music of Chick Corea, Billy Cobham, Yes, ELP, Pink Floyd and King Crimson. Markus gained his first experience with keyboard instruments, computers and sequencers, played in various bands and developed his skills as a composer. It is not surprising that Marquette – Human Reparation Hammond, Hohner Clavinet D6 and Rhodes Mark I also found their way into the studio. Worldwide contact with other musicians came through the Internet and the first professional collaborations arose. Achim Wierschem aka Mindmovie, solo artist and guitarist of the progressive rock band Flaming Bess became aware of Markus Roth and promptly hired him as a guest musician for their last CD release Flaming Bess – The fallen star. A real friendship and great musical understanding developed between the two musicians.
Music, too, can be a medium promoting awareness and contemplation. Listening to the world, we can all be more aware about what is going on, both around and within us.

The idea

The idea is to tell a story while combining music, text, dance and images. An important element is to break up fixed structures, which are given by computer-aided music, by improvising live music.

THE MARQUETTE was a brand of automobiles that were built by Buick in the years from 1929 to 1931. These cars were imperfect. They had their quirks. But every car was something special. Music, for me, is one of the most important forms humans use to communicate or express themselves. My music may be imperfect, as were those vehicles at that time, but just like the cars, every song is something special.

This is the newest release in the PPR series of “introducing accomplished german music artists to a wider audience”.

Although Markus Roth is by no means a new or unknown name in his native prog scene. As keyboard player and occasional drummer he is a member of not one, but two bands, both very different in style: Horizontal Ascension (melodic prog/rock) and Force of Progress (instrumental
prog/metal/jazz fusion).

With his third outfit MARQUETTE, he combines the styles of the other two bands, giving a harder edge to the tracks featuring vocals and reducing the number of notes played in the instrumental tunes, thus making Marquette more accessible to a “mainstream” prog audience. While the 2015 debut “Human Reparation” was a two-man project with a number of guests, INTO THE WILD has become more of a group effort, with Markus
Roth still composing all the songs, but vocalist Maurizio Menendez providing lyrics.

INTO THE WILD was inspired by the life of Christopher McCandless, who travelled through the US with minimal equipment and no money, in a quest to become one with nature, but found a tragic death in the Alaskan wilderness. Story and music stand as „an example of the consistent search for oneself, for one’s own identity“ (Markus Roth).

Mit dem Debut Album „Marquette -Human Reparation“ ist Mastermind Markus Roth und Achim Wierschem ein Meilenstein des zeitgenössischen Progressive Rock gelungen. „Human Reparation“ zeigt eindrucksvoll wie man Progmetal, Retroprog , Jazzelemente und New Artrock so fusionieren kann, dass ein wirklich einheitlicher Stil daraus entsteht – und dass man New Artrock auch auf intelligente und abwechslungsreiche Weise spielen kann.

12 Songs, 79 Minuten bombastische

Keyboards, epische Gitarrenarbeit

und beeindruckend reif klingender

Gesang beweisen internationales

Niveau und das sich Progressive

Rock Made in Germany nicht hinter

britischen, amerikanischen oder

skandinavischen Bands zu

verstecken braucht. Das Album

verbindet Progressive Metal mit

Progressive Rock, zieht Einflüsse sowohl aus Bands wie Dream Theater, Steven Wilson, Opeth und Haken als auch von den alten Helden der Szene wie Genesis, Pink Floyd ,Yes , Return To Forever und Gentle Giant.

Anspieltipp – der 18 minütige Longtrack „Lost At Sea“


Markus Roth – Tasteninstrumente, Schlagzeug, Gesang, Gitarre, Komposition, Produktion

Achim Wierschem – Gitarre, Tasteninstrumente, Komposition “Syncope of Obscure Nature”


Mike Hartman – Gesang

Karsten Frohn – Gesang auf Last Kiss

Benedikt Potjan – Gesang auf My Green Garden

Sven Lendt – Klavier und Orchester auf La Grande Vallée

Reiner Wendland – Akustische Gitarre auf The Mirror

Vlad Porochovnikov – 2. Gitarre auf Last Kiss und Awaken In A New World

Andreas Krämer – Text Last Kiss

Cover Artwork Jef De Corte

Paintings by Brigitte Potjan and Rosemarie Hauser

Mastering at double D Studios Oberhausen by Fritz Fey & Achim Wierschem

CD Bezugsquellen:

Music, for me, is one of the most important forms humans use to communicate or express themselves. My music may be imperfect, as were those vehicles at that time, but just like the cars, every song is something special. So, “Adam und Eva” was created as a pure improvisation on the piano, while other songs, like “Lost at Sea,” developed organically and gradually. Music may tell stories, or create images – and it may very well choose to take more than four minutes to do so.
The title of the album relates, first, to the legion of German scientists who, shortly after the 2nd World War, were forcibly recruited and brought to the US or USSR as “human reparations.” There, they put their ingenuity to the development of military technologies, such as the super-powers’ missile programs. But what of their own history in National-Socialist Germany did they carry along with them? Did their past infuse the substance of their new, grand endeavors? Did they reflect upon the nature of their research? What were their thoughts and feelings?
This is not to say that the album is conceptually about these scientists. Secondly and more generally, the title relates to the fragility of human life itself. Once damaged, whether physically or mentally, we are hard and sometimes impossible to repair. If there is a general theme at work, it is perhaps a notion of destiny and free will, of the way our choices relate to the paths our lives take and what consequences they yield. Making a choice, are we merely working the switches along a train ride whose tracks have been laid out long before and whose course and destination remain a mystery?
Music, too, can be a medium promoting awareness and contemplation. Listening to the world, we can all be more aware about what is going on, both around and within us.
Markus Roth
Review – Marquette – Human Reparation – by Terry DeLien
Marquette Human Reparation

WHAT’S UP PROG-NATION?!?!   It’s your boy, Terry DeLien, sometimes guest-host of PROG-WATCH and I am out to strain the shows relationship with Progradar even further by expecting Martin to publish my half-baked reviews!!!!

Marquette (Markus Roth and Achim Wierschem) have just blown my mind!  An unwritten axiom of prog rock is that instrumentals are either the exception or the rule. When a prog group does a lot of quality instrumentals then their vocal pieces are almost always lower quality. (AnglagardTangerine Dream, lyrical Focus… etc.) A lot of times an otherwise vocal band will start off instrumental for the first track and then do nothing but vocal tracks afterwards (I am looking at you Ciccada and Druckfarben, et. Al.)

So ‘Human Reparation’ came as a bit of a surprise. It looks like it’s going to follow a fairly standard prog formula when it begins, starting off with the rocking instrumental, Mystery Train, and then moving into a strong vocal track, Awaken in a New World, with good lyrics and vocals by Roth. It then takes a turn for the unique by giving us THREE MORE exceptional instrumental tracks before Markus sings again. Track 3 is Adam und Eva, a slow, solo, piano piece,followed by The Mirror, a mostly up tempo suite that clocks in over 9 minutes and is one of my favorite bits on the album. Next we get a piece that, down to its name, says “Hi, we are from Germany and we like Tangerine Dream!!!” Syncope of Obscure Nature is a title that could have fallen off of almost ANY of Dreams “Pink Year’s” albums, indeed, most of their 70’s albums.  The music on ‘Syncope’ tends to represent bits of TD style from the 80’s on into the 2000’s distilled into a cohesive 4 minute piece.

Hold up, It’s time to rock’n’roll again with another vocal piece called Mass Hysteria.  Don’t misunderstand, though!  Marquette expertly set the stage between the slow, mellow and the hard rocking pieces to keep the mood throughout the album, and they PROG HARD with the tempo and time signature changes. Cancer, another well-put-together instrumental suite, follows before we head into the slightly more ‘vocal heavy’ last half.

My Green Garden is not a bad track, there are none on the album, but it is my least favorite. It’s the one I would probably not play outside the context of the album. Sandwiched between Cancer and the amazing The Last Kiss, however, it fits perfectly. One last instrumental La Grande Vallee where Achim rocks out on the guitar to mellow keyboard support, and then it’s on to (BRING ON THE EPIC!!!) the epic of the album.

Marquette Tracks

Here is the part where I would like to talk about the “five listens” rule. It is a belief of mine that music of any artistic merit cannot be judged on the strength of one hearing. I think you need at least five listens to a piece or album to judge and I have seen many opinions, including my own, revised over the course of five listens. (Sometimes, for the worse… I favorably reviewed one band’s 2015 prog effort after listening twice only to have it fail in my own personal playlist.)

That said, I think sometimes epics and concept albums require more than that.  As I listen to Lost At Sea, the 18-minute penultimate track from ‘Human Reparation’, I can hear that it has everything a great prog concept piece needs in the music and the lyrics, but I am not at the point yet where it is making the same kind of connections in the brain as All of the Above or Echoes… Of course, neither did those, at first. I feel like, in this case, it will get there! Finally, we mellow out with a shorter vocal piece called Grandmother’s Music Box…The spell complete, Marquette fades out the magical trance and returns us to the real world.

This is my favorite prog album of this year, so far! Beautifully written, performed, produced and with no way to pigeonhole their sound. You can hear hints of influences (Porcupine Tree for example on Awaken in a New World) but the music is overwhelmingly original. Marquette have made an original,  modern prog album, and that is so important because there are just too many bands with debut albums that are a total pastiche (RPWLThe Watch and I.Q. et. Al,  not that they haven’t moved on to wonderful things). ‘Human Reparation’ also features a lot of good energy and can keep your attention for the full 78 minutes, which is also rare.

‘Human Reparation’ has been out since July of 2015 and currently holds the top spot on my list of 2015 new releases.  (Sorry, ‘Skyline’…  I love you, too but there it is!)

Nice job Markus and Achim…  can’t wait to see what you do with Marquette #2!!!!!

Released 1st July 2015.

Buy download from Amazon

CD is available as an import from the usual suspects!

Terry DeLien


Terry DeLien is the sometimes co-host of Prog-Watch on  Terry has been an aficionado of Progressive rock since he bought his first Prog Album, RUSH-“Exit Stage Left” in 1981.  From Pennsylvania, USA, Terry has been a dj, karaoke show host and taxi driver.  Currently he manages a restaurant.


Band with strong influence of Camel, Steven Wilson and Pink Floyd combining progressive metal with Jazz and art rock, has beautiful themes and precise chords, full of amazing creativity, a delight for lovers of good music.

Publicado por Aryon Maiden

Aficionado pela música em todos os momentos.

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