NUMBER SEVEN

This 2009 effort courtesy of Xavier Phideaux and friends is an effort that should interest many who enjoy symphonic progressive rock, in particular those who believe all the best music was made in the 70's.

One epic composition divided into 3 segments and a total of 16 parts, where the piano appears to be the main provider of themes and passages while organ, keys and mellotron supply the finer details. The guitar has more of a subdued role. Wandering undistorted guitar patterns does appear quite often, subdued riffs and solo passages are slightly more rare - but the piano takes the centre stage on this production.

Recurring themes are used to keep a red thread to the proceedings, and the general mood of this album is subdued. No rich orchestral ventures nor bombastic musical statements; it's the finer details and subtle dramatics that are utilized. At times in a pretty quirky fashion, which along with the lyrical and musical content of Storia Senti makes me suspect that the traditions from Italian symphonic prog may have been a central influence on this effort.

Not as good nor as immideate as 2007's Doomsday Afternoon, but a great album non the less - but an effort that warrants the listener to spend time getting familiar with the scope and sound presented.