CHUPACABRAS

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Phideaux Xavier is a multi instrumentalist and singer.He and Richard Hutchins the drummer are the two full time members,while a host of musicians take part in his projects. "Chupacabras" is their fourth studio record,and is actually made up of unfinished songs from the past,or songs that weren't right for past records.As Phideaux says this record" is a repository for all those difficult orphan songs".To say these are just second rate leftovers ,would not only be wrong, but the opposite is actually the truth.The song "Chupacabras" was originally to be on the "Fiendish" record,but they decided it "would overshadow and consume what was hoped would be a more easily digestible album". So it was dropped from that project before it was completed.And so with the trilogy,songs 5-7 were to be on the "Ghost Story" record but were left off "another case of a song consuming the vibe of an album" says Phideaux.The final song "Titan" was started during the "Fiendish" effort but never finished and Phideaux says that this song is "the gemstone among the spoils".So these are not only great songs, but there is a continuity that you wouldn't normally get with such a project. "Okay" is like an instrumental opening for "Chupacabras".The song "Titan" is a reprise to the song "Fortress of Sand'.And of course there is the trilogy.Which really leaves "Party" as the one that doesn't seem to belong. Now to the music.The song "Okay" is a short 2 minute intro that begins with heavy organ,followed by flute and male and female singing without words.The self titled song "Chupacaras" is an epic with lots of time changes, male and female singing ,flute,mellotron,piano,samples,sax,organ,synths,cello and guitars and drums.It all works perfectly for an awsome song, all 20 minutes of it.The song "Party" has an eighties feel to it."Fortress of Sand" begins with mellotron,then Phideaux singing which sounds processed here ,very ambient.Then some wonderful gentle guitar and piano.It's mostly instumental.The trilogy is loud and proud,it smokes,with theatrical vocals.This trilogy is about the "dark examination of self disillusion and the death of ego".And then we have the last song "Titan".This is my favourite song on the record,it has such a PORCUPINE TREE feel to it.4.5 stars.

The inmates that took over the asylum

Phideaux made huge waves in the progressive community last year when he released the colossal Doomsday Afternoon to much praise. Though in Canada his cds can be incredibly difficult to track down I eventually got to listen to Doomsday was was quite pleasantly surprised at just how good this guy could be. His combination of retro soundscapes and instruments blended together with his uniquely chilling voice and hauntingly beautiful lyrics make for a formidable force! Of course when looking for recommendations for the next album I should get by this apparent genius I was told by someone who'd known about Phideaux for much longer that this album was even better than Doomsday, just less appreciated. Well, after weeks of waiting for it to come in the mail my first listen of this album left me absolutely breathless. It's hard to wrap my head around just how good this album is!

The album itself is mostly a collection of songs that didn't make it on to other albums. But no, this is no b-side collection. The songs may have been left on the cutting room floor, but only because (as he mentions in the liner notes) Phideaux felt that each of the songs would overpower the rest of the album that they were supposed to be on. In other words, these are the best Phideaux tracks that he'd recorded and left out just because they were too good.

In terms of style we're looking at a different beast than the one who recorded Doomsday Afternoon. This Phideaux is heavier, less symphonic and at the same time more dark than the music he would later record. A pleasant treat since it's always good to see a new artist (well, he's not really that new) being so dynamic - this makes for a promising future - but people who have followed him for a while already knew that. The album is not a concept piece as is some of his later works but themes are still reused at points throughout the album to make for a very cohesive piece, although this one is a lot more eclectic in levels of heaviness and general volume going through the disc.

We start, after the short and chilling intro Okay (given atmosphere with a melancholic female voicing), by jumping strait into the piece that would have overpowered his Fiendish album. Chupacabras is a 20-minute pomp-prog epic that ''would just not stop''. This track alone is simply amazing, stunningly emotional guitar work in between some more upbeat sections make for some great hooks and sections. Obvious nods to Genesis with subtitles in the song like Supper's Calling. It's very easy to see where this track could overpower an album. Party is a much shorter song 14 years in the making (recorded as a demo in '90 and worked on again in '97 and finally finished in '04), this one a lot better than the title would suggest. Very fine short form prog, this one really paints a picture of some sort of dark and scary masquerade ball. Guitars are more subtle with the rhythm section taking charge of the more simple lyrics commanded by Phideaux's chilling voice. All in all a great tune that brings us into the next section of the album. Fortress Of Send is a drawn out slow and melancholic instrumental that takes themes from the title cut and the later Titan making for a very calm and relaxing tune.

And now it's time to rock out. The second suit on the album (broken into three tracks, but still one cohesive song) is one that was supposed to be on Ghost Story but was too likely to overpower it. This one changes the speed of the album rapidly as the first section of the song, Ruffian On The Stairs begins with a chaotic bang and presses forwards at full speed before finally slowing off allowing the Sunburnt section of the song to lull along until the climax, Return Of The Ruffian (featuring some pg-13 lyrics). This one is a lot shorter than the title cut (this one totaling about 9 minutes), but thanks to it's unique style (within the album) it's just as effective. The album finishes with another song left off of Fiendish in the form of Titan. This is a cut a lot more similar to what we'd become used to with Phideaux in the future, this one sounds like it could just have easily been recorded for Doomsday Afternoon. More mellow and emotional than it's predecessor this one finishes the album very well.

If you liked Doomsday Afternoon in any way, shape or form you should be seeking this album. Not exactly the same in terms of style, this one has a very unique feel which gives it a great amount of life. 4.5 parties out of 5! It's hard to believe just how good this album is. Let Phideaux wow you for a while.

This album's genesis brings us back in the days of the "Fiendish" recordings. Phideaux had already worked on an epic song but it was not finalized yet to be included on this album. "Chupacabras" is now the centrepiece of this one.

Over twenty minutes of fully progressive music (gone are the poor days of his first two releases). There are lots of different themes, often flirting with the symphonic style I like so much.

The whole song is amazing and features beautiful female vocals (Valerie Gracious). It reminds me at times the great "Genesis" or the early Oldfield and maybe therefore pleases me so much. Don't get me wrong: this song is not at all derivative. It is a fully original number offering a great musical experience. It is almost love at first sight.

Surprisingly melodic, it also features some pastoral and more folkish parts. The finale brings us back where it started, which is one of the characteristics of an epic, right?

If ever you are interested in the full story about the album "Chupacabras", you can read Phideaux souvenirs about it on his myspace blog (available from his official website). It is very instructive.

The second central piece of this album is the "Ruffian" suite. A three parts song which clocks at just over ten minutes. The mood is much heavier and dark and intriguing during "Ruffian On The Stairs": it is almost prog-metal oriented! While "Sunburnt" is a more classic Phideaux track which is nicely prolonged with "Return Of The Ruffian" which is my favourite section. Somewhat new-wave oriented (Ultravox!). But I also like this.

The closing song "Titan" was also started during the "Fiendish" sessions but was never finished. The dual vocals (again Valerie) are superb: another great moment of this album. It also conveys some folk atmosphere and could have been played by "Mostly Autumn". A very good song.

The problem of this album is that all the songs are overshadowed by "Chupacabras, mon amour" (as Phideaux calls it) even if all the other ones are good to very good (except "Party").

This album is on par with the prior "Ghost Story". Four stars.

Given that "Chupacabras" consists of material from various phases of Phideaux' career that, for whatever reason, could not be delivered at the time of conception, this album is not only excellent but also remarkably cohesive. Skewed as it is by the transcendent and triumphant 20 minute title track, the rest contains enough pleasures to please most of us.

The namesake for the album is a beast from Mexican mythology that appears to slay its victims in large numbers every few years and drinks all their blood. Phideaux tells its story from the perspective of the creature, and whatever he may mean metaphorically, the exercise works on a lyrical level. But it is in the symphonic meets old-west core that this creature thrives. The many phases integrate splendidly both vocally and instrumentally and the use of special effects like the bleating of the soon-to-be victims is also a stroke of prog genius. One of my favourite parts is obviously inspired by the southwestern locale where the chupacabra strikes, and features banjo-like strumming that might be a dobro perhaps. The opening cut of the album is an instrumental that flows into the epic as though it were composed for that purpose (which perhaps it was).

While the rest of the album clearly falls below the standards set by "Chupacabras", Phideaux wisely juxtaposes it with the glam oriented "Party Party". At first I just thought of it as a trite David Bowie knockoff but it has grown on me thanks to the sinister lyrics. Exactly what type of a party is this where you have to play along or be absorbed? "Fortress of Sand" is almost entirely instrumental after the ethereal beginning, becoming a reflective and effective guitar solo. The "Ruffian" duo show the harsher side of Phideaux that lacks his characteristic shadings and suffers for it, but in the closer "Titan" he gets back to what he does best, that slightly spacey British vibe that begins slowly and quietly before busting out.

Phideaux, for all his influences, is an original talent who, at his best as on most of this album, manages to consciously produce old style symphonic progressive rock that is indulgent without being self-important. It is there where he surpasses most of his influences.

It's difficult for me not to reflect over the irony of this album. It was created out of pieces left out of previous releases because they wouldn't fit in, in fear for them to overshadow the rest of the album. Chupacabras is basically two long suites with a few interspersed songs, and the twenty-one minutes of the title track still manages to completely dominate the album. In all honesty, I listen to Chupacabras mostly for - Chupacabras.

After the gorgeous half-symphonic, half-space 'intro' (Okay) with lush keys, restrained and echoing guitar, spooky deep choir effects and somewhat sad female vocals, Phideaux and cohort already have me wrapped around their little finger with that atmospheric tractor beam. And then it unfolds, one of the greatest journeys of modern prog, a musical piece that just resonates with me, an instant click. And to further indulge in clichés; just chemistry.

The beginnings are quite humble: a pounding bass drum, some simple piano, some swirly effects and an understated guitar. Bass guitar joins in.and off we go. A wonderful release of pressure that never really looses momentum after that. There are outbursts of guitar, both electric and acoustic, powerful hooks, sensational duels between male and female vocals, an amazing middle section with pseudo-country guitar that surprises by growing into a manifestation of raw emotion coupled with the sounds of flute, strings and a distant bagpipe. Everything oozes emotion, everything oozes fresh, new, inspired! I love the vocal delivery: vulnerable, yet powerful and extremely honest. There are some wonderful vocal arrangements to be found on Chupacabras. Perhaps the perfect realisation of how to mix the old with the new, fusing more accessible alt rock tendencies with symphonic and space/psych prog, and by stretching it a little - even touches of folk. It's a unique experience, putting this composition alongside other hard-to-define artists such as Mike Oldfield.

Recovering after this experience requires some time, and I've actually listened to the other tracks separately just to give them some sort of justice.

Party is a nice, sinister and quite dark effort, with less emphasis on the symphonic aspects and a defining character in that it makes you feel rather uneasy. Sometimes hypnotic vocals, the song relies on lyrics more than musical power, but the subdued textural guitars and the cold electronic keys are actually quite pleasing.

After the (more or less) extended guitar 'solo' that is Fortress of Sand, the second suite of the album begins. Going by the name Ruffian On The Stairs, it's actually three separate songs flowing into each other. Brutal, uncompromising hardcore guitar clashes with everything else heard so far, and the rest of the song have a flair of metal to it altogether, from the vocal delivery to the general mood. Effective, yes, but a little blunt in comparison to what's going on otherwise. The vague nu-metal vibes I get from Sunburnt is not particularly pleasing either, but it manages to develop into a rolling piano ending of just the sort I love. Revisiting familiar sounds on Return of the Ruffian, Titan then closes the album on a mellow and reflecting note, once again carried by vocals and guitars.

There's really not much to say. There's an absolute masterpiece, over twenty minutes long, and most of the other material pleases me enough to make the rating.

.a solid 4 stars, and please treat yourself with the title track!

//LinusW

Google pictures of Chupacabras for fun....creepy!

'I am beauty...' Phideaux repeats in his 20 minutes epic; and boy is he right. Beauty is the word describing this fantastic track worthy of the best moments of Doomsday Afternoon. Yes, Phideaux's last record is a true masterpiece, really. But Chupacabras, despite being a miscellaneous amalgam of songs, is showing lots of coherence in it's total!

I tried the Great Leap, and it didn't click one second. Why? Because Phideaux is a great, no, a master at epics. He got it right here, it shows he understood how the human brain works. For instance, the track Chupacabras has a recurrent musical theme, coming and going like a catchy chorus. This recipe for epics is very effective and follows a clear, but unsurprising path. Building around that snappy refrain, Phideaux is knitting 20 minutes of pure melody, mixing his inimitable style of singing with Valerie Gracious' ...er...gracious voice I guess.

From slide metal acoustic guitar to celtic woodwinds, grand piano and sitar, the whole album is a beautiful but too short moment with Xavier Phideaux and crew. And remember, this is not a walk in the park on track 5. Wow, it really ripped the skin off my ears the first time I heard it. Aggressive stuff strangely; a side we almost never see in a Phideaux' record. Finally, the guy is not aiming at competition towards Dream Theater for instance...no musical fireworks here. So for all the picky proggers looking for skills, here it's good songs but with no tabasco.

Not complex but sooooo beautiful!

A very good album, if you ask me

A year after the average Ghost Story, Phidieaux Xavier is back with new album, which is MUCH better than its predecessor, which goes by the name of the legendary creature called Chupacabras.

Besides being released at 2005, Chupacabras have the same basic structure (and length) of many traditional progressive rock albums: an intro, the first epic, some songs in the middle and the closing / last epic (which also has the outro). However, the similarities between the 70's and Phideaux Xavier don't go much further from here, since his music fits perfectly in the modern prog, the prog of our time. Actually, it is with Chupacabras that Phideaux and his band finally enter the realms of progressive rock.

Possibly other said this, but I think it is still important to say that most of this album was made from leftover songs and little bits of songs from early Phideaux Xavier projects that were reworked, put together and, to some degree, rewritten and recomposed, resulting in this great album.

The highlights go to all songs, except Party. By the way, you may think that such a balanced album should get a better grade, but, to be quite frank, despite most songs being good they do not are masterpieces. They are just good songs.

Grade and Final Thoughts

Chupacabras was the second Phideaux album I ever listened, right after Doomsday Afternoon, and it is still one of my favorite Phideaux albums. Great music and some pretty good songs (specially the epics) definitely makes this album a very good representative of the progressive rock scene during the first decade of the new millennium.

I purchased this album because it was far cheaper than Doomsday Afternoon, and it was the first Phideaux album I heard (although I did hear "Formaldehyde" courtesy of the free streaming tracks hosted on a certain website). Everyone I had spoken to about this album while I was waiting for it to arrive in the mail said pretty much the same thing: A solid four stars. I am very much inclined to agree. There's nothing here that is groundbreaking or mind-bogglingly amazing, but to be in search of that misses the point of great music, a category this album easily falls into. What may be most appealing about this record is that Phideaux uses a wide variety of instruments and textures and yet maintains a clear, coherent sound throughout that is their own. What's more, this album has encouraged me to pick up other releases by this celebrated artist.

"Okay" Heavily distorted organ and Mellotron in flute-mode make for the introduction of a two minute prelude, which gives way to a plain electric guitar, deep vocals, and stunning female vocals on top. This appetizer does what it is supposed to do- if I were not completely inclined to listen to this album, this little piece gets me wholly engrossed.

"Chupacabras" Methodical drums, slide guitar, and piano begin this monster that just wouldn't stop growing. The song very soon gets pumped up and full, with various instruments working together during what serves as a main theme. Staccato piano hammers out the chords as the first bit of proper singing comes in. The female vocals are one of the most enchanting aspects of this album, and I'm pleased that Phideaux chose to use them so liberally throughout the album. The piano progression that follows, with washes of cymbals, is an exceptionally beautiful transition. After some wind and barnyard noises (goats, notably- perhaps the supper of the chupacabra!), the piece takes a sudden curve into swamp music, bringing in a twangy Dobro and some acoustic guitar. Almost without realization, it shifts into a more Celtic-flavored part. Sometimes the male vocals are a bit loud and "squeaky," if that makes any sense, which at first really put me off, but now that I've grown accustomed to them, I can confidently say this is one of Phideaux's brightest moments.

"Party" Initially, I balked the first time I heard "Party." The thing was so flamboyant and giddy I almost skipped it out of embarrassment (and I was home alone at the time). And yet this ludicrous-sounding song plastered itself right into my subconscious, and as I found myself begrudgingly singing parts of it ("Speak, only when you are spoken to"), I knew I had to play the album again (including this song). While I'd still say the female vocal is goofy ("It's not nice to leave before the party is over"), I take no shame in saying I look forward to this incredibly quirky piece of music any time I am in the mood for the album. The lyrics make this something like the "Hotel California" of dance balls, I guess.

"Fortress of Sand" Muffled piano and vocals begin this track, right before a clean guitar begins what I consider to be the most tedious part of the album. Ultimately, it's a bland piece, since it's five minutes of post-rock that carries on with the same chord progression, and even though there is some subtle building, it can still try one's patience.

"Ruffian on the Stairs" If the previous track put anyone to sleep, this will wake them right the hell up. A barrage of heavy guitars, drumming, and distorted vocals rip right through the speakers. It's a gritty, biting song that has a fascinating refrain.

"Sunburnt" Phideaux makes great use of various guitar tones and effects in this short song. Dark vocals that almost sound a bit like Billy Idol present the lyrics.

"Return of the Ruffian" What is essentially a reprise of "Ruffian on the Stairs" is more vitriolic and fuller in sound.

"Titan" If there is one track that is not very memorable from this album, it is this final one. Every time it begins to play, I can't remember anything about it. Still, it's a peaceful respite after the wrath of what has come prior. Once again, the female vocals are enthralling, warm, and mature. While perhaps an uninspired way to end a very inspired album, "Titan" is a good work nonetheless.

Excellent in almost every regard, "Chupacabras" is a fantastic blend of moods, styles, and themes, superbly composed and finely honed with a classically progressive sound which will instantly appeal to fans of the genre.

The title track is undeniably the star of the show, being a memorable display of stylish songwriting. While most of Phideaux's compositions are comparatively simple, they are undeniably beautiful, with sweeping dynamics and sounds, and "Chupacabras" is a perfect example. Melodies are powerful, yet retain an understated feel due to their simple elegance; instead, the biggest impression one will have is with the overall piece, with its many layers of synth, vocals, laid-back guitar, and efffects creating a very enjoyable listen. The mix of vocal performances is perfect, and the song's vocals educe a fun mixture of silly and poignancy. A textbook example of first-rate symphonic rock.

The supporting songs are almost as good, with the deceptively silly "Party" standing out to me due to its camp and breadth of sound. "Fortress of Sands" is an excellently dreamy instrumental, but the Ruffian Suite (consisting of three mid-length songs) is somewhat crass and uninteresting musically. Luckily, the closer "Titan" leaves the listener very satisfied, ending the album on a beautifully melodic, classy display of modern prog-rock.

Highly recommended!