Producer Nick Tauber worked the band hard, having them stop into various rehearsal and recording studios to write songs, and to find a drummer.

"[9] As Marillion used ten different studios to record the album and the line-up had undergone a change, Fugazi proved to be a slightly incoherent follow-up to Script for a Jester's Tear, which was noticed in the retrospective review by John Franck of AllMusic.

[3] Writing for Ultimate Classic Rock, Eduardo Rivadavia observed: Fugazi proved just as diverse, ambitious, even preposterous (in the best possible prog-rock sense) as Script.

They matched epic, complex musicianship with oblique wordplay to perfection on the likes of "Assassing", "Jigsaw", "Incubus", and the title track – all of which would become perennial concert favorites for years to come.

If anything, the new album was, at once, more polished (in terms of both production standards and song arrangements) and a tad less consistent than its predecessor, unquestionably falling short of heightened expectations on the somewhat less-than-stellar "Emerald Lies" and certainly the subpar "She Chameleon".

As part of a series of Marillion's first eight studio albums, EMI Records re-released Fugazi on 23 February 1998 with 24-bit digital remastered sound and a second disc containing bonus tracks[nb 3].

Holly Frith wrote: "Despite the arguable quality of their music, Marillion most certainly gave a shit about their album artwork and this multi-tiered image of a young man suffering an apparent overdose is their most startling, brilliant and thought-provoking.

"[13] All tracks are written by Fish, Mark Kelly, Steve Rothery, Pete Trewavas, except where noted ^ Shipments figures based on certification alone.