The cover shows him with fur and a Sardinian mask, as if he were a mythological character. He also used it on tour, like the Minotaur of Brucia Troia, a song that starts with the sound of shofar, those wooden instruments that sound like a scream. That song is a version of Psalm 59, with a voice that moves between faith and desperation.
In other songs, like Al colosseo, he gets into Rome's history, describing with crudeness the circus spectacles. He pays homage to Tom Waits, but does it with his own voice, as if he were singing in a place where silence is stronger than noise. There are also references to pre-1991 Russia, with names like Vysotskyj and Majakovskij, and a phrase by Ivan the Terrible that mixes English and Russian.
It's not an album of smooth rhythms. It's more like a journey, a trip through stories that never get left behind. The music accompanies it, but what remains is the feeling that something important is happening, although you can't quite figure out what it is.