666

The album "666" by APHRODITE'S CHILD stands as a pinnacle of Art-Rock innovation in the 1970s, deftly blending a provocative concept with VANGELIS's unparalleled prowess in progressive rock composition. Based on Costas FERRIS's book and brought to life through VANGELIS's music, arrangements, and production, this groundbreaking work showcases the band's ambitious vision and artistic daring.

At its core, "666" is a testament to irony and sarcasm, offering a unique interpretation of the Apocalypse through the lens of late 60s counterculture. The album unfolds like a grand circus spectacle, with the Apocalypse serving as the central theme of a captivating show. Yet, as the performance climaxes, reality intrudes, blurring the lines between fiction and the impending Last Judgment.

The production of "666" was fraught with challenges, reflecting the strained dynamics within the band as personal projects overshadowed collective ambition. Additionally, objections from the publishing house led to significant cuts in the album's content despite VANGELIS's reluctance to compromise. It's speculated that the original recordings contained enough material for multiple albums, underscoring the sheer breadth of the band's creative output.

Despite its commercial reception falling short of expectations, "666" sparked its fair share of controversies. Rumors swirled about the band's alleged involvement in satanic rites and the influence of drugs during recording sessions. The infamous mention of "sahlep" on the album's back cover only fueled speculation, though it refers to a nutritious beverage rather than any illicit substance. This playful nod to the band's recording environment is a testament to the enduring mystique surrounding "666."

In retrospect, "666" remains a seminal work in the annals of progressive rock, pushing boundaries both musically and thematically. Its legacy is a testament to APHRODITE'S CHILD's fearless experimentation and VANGELIS's unparalleled creative vision.