In every artistic field it is hard to understand how critically important first impressions are. I am talking about those quick and uncontrollable connections, like an electric shock, that originate from the direct proportion between the work of art standing before US (a picture, a poem, a piece of music) and our feelings. The critical judgment as such requires a deep meditation and the artistic work in question should be examined probably in the microscopic detail of the cultural tradition, filtered through the aesthetical parameters and controlled as a sort of X-ray, giving a careful analysis of every overtone and undertone, spontaneity and trick. So I think it is right to say my first impression on listening to this record was skin-deep, on which the more meditative critics no doubt would respond correctly. Rearward. 2009.