NUMBER SEVEN

Oops, the first time I typed that it looked like "subtitles" but even that wouldn't be too far off base, since Phideaux sings one of these songs in Italian!

This is a wonderful album that is the quintessential "grow on you" kind of experience. Each time though I discover new details, either a little instrumental bit in the background or some structural element that helps bind the album together. I almost think there should be a rule that one must listen to this album at least 5 times before forming an opinion- it really does "open up" that much.

What you don't get are blistering metal riffs, "look at me" time/key changes or wild improv jams. Instead, you'll find a carefully crafted, haunting musical journey of images, sounds and words. It's got symphonic prog elements, with a particular nod to the pastoral/folky/English flavors of such artists as Jethro Tull, Genesis, Van Der Graaf Generator, and Pink Floyd. The music is wonderfully paced as one song moves to the next- there are ever shifting changes in mood and intensity, beautiful melodies, and intricate arrangement ideas (in particular I love the transition from Gift of the Flame to Interview with a Dormouse) all blended into a cohesive musical whole. Despite the lack of the orchestra from Doomsday Afternoon, this album strikes me as even more colorful and the performances more intense.

I suppose if one were to nitpick, you could find a few small timing errors in the playing. Those who like more extreme contrasts (i.e. Opeth) or bold experimentation in music might not find this their cup of tea. But for what it sets out to do, the overall delivery and scope of this album is mighty impressive. It wasn't meant to be the third part of the Great Leap/Doomsday trilogy but is perhaps the most impressive "epic" of the Phideaux discography.

The thing Phideaux seems to have learned is that one can pay homage to various influences but not come across as a clone, recycling old ideas in a superficial way. There is a personality, earnestness and soul to this music that to my ears is quite rare actually, even though it's unashamedly "retro" in sound. Easily one of my top albums of the decade.

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