NUMBER SEVEN

In a fairer, more perfect world he would receive a lot more acknowledgment, fame and fortune because in the humble opinion of this reviewer, his last two albums have been two quite profound masterpieces. His forthcoming album is said to be a single composition lasting the entire album's length, which I await with baited breath. But I digress.

I have to say that this album is every bit as worthy as Doomsday Afternoon, and even better in some respects. Though the most transcendental moments on Doomsday are perhaps more memorable than this album's highlights, the concept here is more convincingly realised, making this a more cohesive and satisfysing work overall.

Besides, I think this is a more original work overall. Anyone who has explored Phideaux's discography knows that he can't help but borrow ideas from Pink Floyd (hey, at least he learned from the best). On Number 7 he continues to do this, but incorporates these elements into his compositions in such a way that he makes them his own, unlike a couple of moments on Doomsday where one or two sections seemed to emulate mid-70s period Floyd with complete accuracy (Thank You For The Evil comes to mind).

Despite that, Phideaux is anything but a Floyd clone. This is so much more than that and it really is an album containing music that speaks for itself. Listen to the sample song, Love Theme From "Number Seven", which is available for streaming here on ProgArchives. It's a fantastic, many-layered composition that will convince you more than any words I can write, and the truth is that it's not even close to being the most wonderful track on the record. That honour would have to go to the marvellous Gift Of The Flame or perhaps The Search For Extraterrestrial Life.

Do yourself a favour and check this artist out if you haven't already. If his next couple of albums are as delightful as the last couple, we'll all be talking about him for a long time to come around here, I can guarantee that.

NOTE: The CD I have seems to be the "remastered" second release, which Phideaux released because he was apparently unhappy with some factors. The track listing is different - tracks 2 though 5 have been combined into a 20 minute suite simply called Waiting For The Axe To Fall, and Storia Senti has been added to the end of Love Theme to create a 12+ minute suite (which is what I thought I was describing in my review). Some of the other running times seem to be different by a few seconds here and there as well. I can only comment on the version of the album I have, but it's brilliant.

For anyone who didn't like this album as much as Doomsday Afternoon, perhaps try listening to the remastered version, because for me it's equally amazing.

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