NUMBER SEVEN

My trembling hands are tearing up the cellophane enveloppe, I gaze at the fun artwork for an instant. I see a dormouse and a crawfish preparing for battle and I think:' Tarkus concept.' I pop it in, and I'm flabbergasted, yet. Next track. Again, such application in finding the right melody and yet no sign of aggressivity or crunchy guitars. Next track. Heavens be praised, another miracle.

Oh, Lord. How can someone create such exquisite and coherent masterpieces two albums in a row? I mean, don't he run out of ideas once in a while? The songs are so rich in textures of piano, violin or creative keyboard lines, everything is in perfect place. The words are missing to tell you how much I simply cannot live without that album now.

Doomsday Afternoon transported us in a world where Pink Floyd and the Beatles are caping together, where the end of the world scared and fascinated us altogether. Number Seven is propulsing you into another post-pythagorian world of animal battles, global pollution and thermonuclear cheeses. Lots of winks to many prog heroes can be heard: Pink Floyd, VDGG, Jethro Tull (Passion Play saxes) and even many Italian progressive acts like Le Orme or Rovescio della Megdalia.

No avalanche of mellotrons, no heavy guitars, no howling vocals and in these harsh times of progressive metal, it feels like heaven to hear some very intelligent material.

I strongly recommend, no, I command you to listen and make your own idea. But for me, I'm over the moon with it.

This is true symphonic rock, 100% growling free and probably THE best album of 2009.

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