Seventh Son of a Seventh Son Figure

Michael Kontraros SKU: DLB-MKC-IRON-75-SEVE1
Seventh Son of a Seventh Son Figure
Seventh Son of a Seventh Son Figure
Seventh Son of a Seventh Son Figure
Seventh Son of a Seventh Son Figure
Seventh Son of a Seventh Son Figure
Seventh Son of a Seventh Son Figure
Seventh Son of a Seventh Son Figure
Seventh Son of a Seventh Son Figure
Seventh Son of a Seventh Son Figure

Seventh Son of a Seventh Son Figure

Michael Kontraros SKU: DLB-MKC-IRON-75-SEVE1

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75mm scale resin kit. Sculpted by Michael Kontraros. Boxart by Mirko Cavalloni. Kit includes 10 kit parts.

Seventh Son of a Seventh Son (7th Son of a 7th Son) is the seventh studio album by Iron Maiden. It was released on 11 April 1988 in the United Kingdom by EMI Records and in the United States by Capitol Records. Like The Number of the Beast (1982) and later Fear of the Dark (1992), The Final Frontier (2010), and The Book of Souls (2015), the album debuted at number one on the UK Albums Chart. The lead single "Can I Play with Madness" was also a commercial success, peaking at No. 3 in the UK Singles Chart.

 A concept album inspired by the novel Seventh Son by Orson Scott Card, the record incorporates elements of progressive rock, seen in the length and complex structure of the title track. It was also the first Iron Maiden album to feature keyboards, after the band had introduced non-keyboard synth effects on their previous LP, Somewhere in Time (1986).

Following the album's release, the band embarked on the Seventh Tour of a Seventh Tour in which Derek Riggs' cover artwork was recreated on stage. The band played over 100 shows, including the Monsters of Rock festival at Donington Park, and recorded the Maiden England video at Birmingham's NEC. From 2012–2014, the band revisited the Seventh Son era on their Maiden England World Tour.

The brief given to Derek Riggs (the group's then regular artist) was, unlike with previous albums, to create "simply something surreal and bloody weird". Riggs confirms that "they said they wanted one of my surreal things. 'It's about prophecy and seeing into the future, and we want one of your surreal things.' That was the brief ... I had a limited time to do the picture, and I thought it was pretty weird their concept, so I just went with that."

Dickinson states that the idea to set the painting in a polar landscape may have originated from when he showed Riggs a Gustave Doré piece, depicting traitors frozen in a lake of ice in the ninth circle of Dante's Inferno. In contradiction of this, Riggs states that the setting was because he "might have just seen a documentary about the North Pole or something ... I wanted something that was a departure from all the cityscapes and things. It was about prophecy and seeing the future, and so I just wanted something distant. And then they said, on the back, 'Could you stick all the other Eddies in the ice?' So I did."

Speaking about the depiction of the band's mascot, Eddie, Riggs states that "I thought, you know, I don't feel like painting all of Eddie, so I'll get rid of him. I'll chop him off, and make it look kind of non-pleasant." In addition to the lobotomy and cyborg enhancements, left over from the Piece of Mind and Somewhere in Time album covers respectively, this incarnation also comes with an in utero baby in his left hand and an apple, inspired by the Garden of Eden and featuring a red and green yin and yang. On top of this, Eddie's head is on fire, which Riggs states is "a symbol for inspiration", an idea which he "stole" from Arthur Brown.

 Text Courtesy of Micheal Kontraros Collectables

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