NUMBER SEVEN

Loosely borrowing a structure from King Crimson's In the Wake of Poseidon, Phideaux's 2009 album is a strange mixture of excellence and boringness- I have tried many times in vain to determine to which side it leans closer. Overall, this album is swell, and I find little fault with its execution or totality. However, I can see why some regard this as boring- I find my own mind wandering during many passages, unable to focus or recall what I'd just heard. Musically, variation is something almost completely lacking; on this album, the instrumentation especially remains consistent nearly throughout, with similar rhythms, melodies, and chord progressions, but Phideaux milks nearly every ounce of creativity from those elements, even if the whole grows stale in places. I enjoy this album, and I do so occasionally still, but admittedly it requires a measure of fortitude and concentration I don't always want to muster.

"Dormouse- A Theme" Acoustic guitar provides a delicate and clear melodic introduction.

"Waiting for the Axe to Fall" Dark piano and synthesizer parade through the music of the first proper song. While a bit dull at times, the sinister melodies are quite pleasing and do a fine job cementing themselves into the hearer's mind. The instrumental sections possess much of the same existence.

"Hive Mind" Rolling piano chords form the basis of the next part. Decent melodies notwithstanding, this track, even at four minutes in length, seems like three different pieces strung together with questionable transitions.

"The Claws of a Crayfish" A more intense movement, this features soaring feminine vocals and lovely strings.

"My Sleeping Slave" Further dreary piano and synthesizer ensue. This is one where I don't particularly care for the vocals. Organ, synthesizer, and acoustic guitar add extra melodies.

"Darkness at Noon" Here is a terse acoustic guitar and vocal piece.

"Prequiem" More acoustic guitar, organ, and decent vocals are present here, but a solid lead guitar is added, freshening an album that was becoming in need of freshening.

"Gift of the Flame" I am rather fond of this piece- it exhibits almost everything great about this album in one convenient package. It has a great acoustic guitar theme, complimented with electric, and semi-intense orchestration throughout. The addition of a saxophone, warbling tones, and a delightful bass groove remind me very much of Pink Floyd's "Any Colour You Like," even introducing the album's first truly heavy passage. Lead guitar jumps in and out between vocal lines, and it has a solid heavy passage that gives way to a dimming mood led by lovely vocals.

"Interview with a Dormouse" Following an ominous composition, the acoustic theme returns, this time with one of the "cheesiest" lyrics ever- but those lyrics are quite foreboding in their own whimsical way.

"Thermonuclear Cheese" Organ (and a bizarre choir) begin this piece. A thick synthesizer lead carries the melody.

"The Search for Terrestrial Life" Another favorite of mine from the album, this song begins gently enough with some narration, and possesses perhaps the most memorable melody of the album. With remarkable harmonies, the male and female vocals weave in and out in a spectacular way. Phideaux Xavier's vocals have a gritty Peter Gabriel quality without coming across as imitative- another plus.

"A Fistful of Fortitude" Gorgeous acoustic guitar and violin give way to sudden vocalizations and drumming. The main melody from the previous track returns.

"Love Theme from "Number Seven" Gentle piano and feminine vocals move this longest work into something slightly heavier. Again, the transitions are mite weak, but the electric piano and synthesizer solos compensate. Electric guitar adds another needed dimension, but I do not at all care for the shrieking that comes in toward the end.

"Storia Senti" Continuing from the previous piece, this has a lead vocal in Italian, as well as some enjoyable violin. An upbeat melody returns, this time with vocal accompaniment. Violin, arpeggiated synthesizer, piano, and electric and acoustic guitar close things wonderfully, at least until that awful vocal shrieking returns.

"Infinite Supply" I believe this to be the laziest vocal melody on the album; the chord progression isn't interesting, but a great melody can take a boring chord progression and make it fabulous. I like the individual parts, especially the occasional bass flourishes, but this is just incredibly monotonous.

"Dormouse - An End" This is an even fuller version of the opening theme and interlude.