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PHIDEAUX

Crossover Prog • United States


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Phideaux biography
PHIDEAUX Xavier - Born 14/01/1963 (Hastings-on-Hudson, NYC, USA)

PHIDEAUX is a multi-instrumentalist, singer and songwriter, employing the drumming of Rich Hutchins, producer Gabriel Moffat and a revolving cast of supporting musicians. He has released several progressive/psychadelic inspired albums since 2003 and includes Jethro Tull, David Bowie, Pink Floyd, Van Der Graaf Generator, and early Genesis (among many others) as influences.

The first proper album was "Fiendish", which introduced the folky, psychadelic sound of PHIDEAUX. "Ghost Story" mostly consists of material from a previous musical collaboration in the 90s called Satyricon (with Rich Hutchins). "Chupacabras" might be the first album that prog fans lean towards, with the 20+ minute "epic" title track highlighting the album. "313" was an album-in-a-day project that took shape with one day of basic writing and recording, then fleshed out over the course of the next year. Probably the most significant music achievement so far, "The Great Leap" is the first album in a three part trilogy concerning "life in a dystopic eclogically disintegrating world"... but don't let the topic fool you, PHIDEAUX's music at heart is addictive, fun, deep, and compelling all at the same time, with memorable melodies and finely crafted arrangements that represent songwriting at it's finest. Present are some of the prog rock staples in the use of synths, Hammond organ, mellotrons, and other interesting instrumental contributions, as well as multi-section, evolving pieces of music... but rather than rehashing prog cliches or focusing on technical acrobatics, PHIDEAUX's music truly offers something creative and refreshing.

All these albums are consistently great and are very highly recommended for those who love the subtle, folkier, psychadelic side of prog rock with an emphasis on melodic songwriting. This music has a unqiue magic that doesn't come around very often.

Phideaux is a band born of several lifelong friendships and a mutual appreciation of progressive rock. We are refugees from a time when rock and roll was counter-cultural and have come together to mine a dark vein of music steeped with mellotrons, violins and vintage keyboards. We love power chords, tricky time signatures and intricate harmonies, but always there are melodies to be hummed and riffs to invade your mind.

PHIDEAUX Videos (YouTube and more)


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Buy PHIDEAUX Music


InfernalInfernal
Bloodfish 2018
$18.49
$99.95 (used)
SnowtorchSnowtorch
Bloodfish Media 2011
$20.00
We Only Have Eyes For You (EP)We Only Have Eyes For You (EP)
Single
Bloodfish Media 2018
$7.40
$5.91 (used)
ChupacabrasChupacabras
Explicit Lyrics
Bloodfish Media 2005
$8.00
313313
Bloodfish Media 2006
$11.46
$22.85 (used)
The Great LeapThe Great Leap
Bloodfish 2006
$12.48
Number Seven (Remastered)Number Seven (Remastered)
Bloodfish Media 2010
$15.99
Phideaux & MogonPhideaux & Mogon
Limited Collector's Edition
Bloodfish
$19.99
Number Seven (Remastered) by PhideauxNumber Seven (Remastered) by Phideaux
Bloodfish Media
$17.99
$43.32 (used)
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PHIDEAUX discography


Ordered by release date | Showing ratings (top albums) | Help Progarchives.com to complete the discography and add albums

PHIDEAUX top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

1.76 | 51 ratings
Phideaux Xavier: Friction
1992
3.16 | 125 ratings
Fiendish
2003
3.65 | 174 ratings
Ghost Story
2004
3.88 | 261 ratings
Chupacabras
2005
3.46 | 148 ratings
313
2006
3.27 | 215 ratings
The Great Leap
2006
4.22 | 932 ratings
Doomsday Afternoon
2007
4.03 | 532 ratings
Number Seven
2009
4.19 | 791 ratings
Snowtorch
2011
4.14 | 176 ratings
Infernal
2018

PHIDEAUX Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

PHIDEAUX Videos (DVD, Blu-ray, VHS etc)

PHIDEAUX Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

PHIDEAUX Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

3.85 | 36 ratings
Tempest of Mutiny
2010
3.74 | 37 ratings
Strange Cloud
2010
4.09 | 51 ratings
Phideaux & Mogon Promotional Issue
2012
3.83 | 24 ratings
We Only Have Eyes for You
2018

PHIDEAUX Reviews


Showing last 10 reviews only
 Infernal by PHIDEAUX album cover Studio Album, 2018
4.14 | 176 ratings

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Infernal
Phideaux Crossover Prog

Review by kev rowland
Special Collaborator Honorary Collaborator

4 stars Back in 2006 Phideaux released the first album in a trilogy, 'Great Leap', and followed it up the next year with 'Doomsday Afternoon'. There have been two studio albums since then, but now, seven years after 'Snowtorch' and 11 years on from part two, the trilogy comes to a close with 'Infernal'. The artwork is also linked to the other two albums, in case the casual listener doesn't realise. I have long been a fan of the project initially put together by Phideaux Xavier and Richard Hutchins (can it really be 15 years since 'Fiendish'?), and many of the players in the band have stayed the course, although I did notice one new interesting name among the current band, namely Matthew Kennedy who of course is also bassist in the mighty Discipline, another of my favourite bands.

This double CD set contains 19 songs, and lasts just under 90 minutes with only one lengthy number, the 14 minute long "From Hydrogen With Love". This is all about music and songs as opposed to exercises in self-indulgence. With three different female lead singers also playing their part, as well as plenty of backing singers, it means that Phideaux has plenty of support and although he is an excellent singer in his own right, he passes much of the work over to others. Reminiscent at times of the gentler side of Pink Floyd, this is an album which lures in the listener and refuses to let them leave. Although in many ways the music is quite simplistic, there are plenty of instances when there is a complex nuance which adds finesse to what is already compelling music. Although the arrangements are often multi-layered, there are plenty of times when it all falls away to leave singers with just a piano or guitar for accompaniment. The piano is an incredibly important part of the structure, often underpinning what is taking place, while guitarist Gabriel Moffat knows exactly when to be restrained or when to come to the fore and provide some much-needed aggression.

The music is often at the gentler end of the spectrum, with arrangements and production that allow the music to feel like a soft blanket keeping the listener warm, but it is never too sweet or one-dimensional. It is an album that I can play repeatedly without getting tired of it, and that isn't often the case. There are times when it bounces along, others where it is more reflective, but always a delight. Yet another incredibly strong addition to his canon, let's hope it isn't so long for the next one.

 Phideaux & Mogon Promotional Issue by PHIDEAUX album cover Singles/EPs/Fan Club/Promo, 2012
4.09 | 51 ratings

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Phideaux & Mogon Promotional Issue
Phideaux Crossover Prog

Review by kev rowland
Special Collaborator Honorary Collaborator

4 stars I have been a fan of Phideaux Xavier and his work for a long time now, but have only recently come across this album. Apparently it was produced for Nearfest (I'm guessing in 2012 as that was when it was released) as a way of letting people discover more of his music. Even now it is still available from his Bandcamp site totally free of charge ' if I remember correctly, he released his initial albums for the same cost, and back then it was for a physical disc. I know nothing about the disc in terms of who plays on it, or when the live songs were recorded, while I believe Mogon was another project from Xavier containing the same musicians as his other band but in a different style.

His voice is always front and centre, and he brings together sounds from the progressive and art rock worlds, often with a very healthy dose of psychedelia as well. There are times when his music is reminiscent of early Seventies Pink Floyd, at others it is more singer- songwriter, while there is always a big sound. It may be more laid-back and less in your face than other prog acts, but he has continued to produce incredibly consistent and enjoyable albums over the years, and even though this is a sampler it is still incredibly interesting. While the Mogon numbers are interesting, especially for their use of horns and strings, it will probably be to the Phideaux songs that the fan will gravitate, and to the epic live rendition of the title cut from his 2005 album, 'Chupacabras'. There is a vitality, a real speak between Phideaux and the female singer, plus a levity and space between all the musicians as this twenty minute long number evolves. I can't play this without a smile on my face as it is just so much fun. It may have taken me six years to come across this, but I am so glad I have. Did I mention it is free? Of course, any monies you do donate will go to his next project.

 Infernal by PHIDEAUX album cover Studio Album, 2018
4.14 | 176 ratings

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Infernal
Phideaux Crossover Prog

Review by FragileKings
Prog Reviewer

4 stars There seemed to be a lot of anticipation for this album amongst at least a few of the musicians whom I follow on Facebook, though I myself had only a passing familiarity with the music of Phideaux. Soon after joining ProgArchives some years back, his name crossed my path, and I sampled music from some of his albums trying to decide which one to buy. In the end, however, I couldn't decide and moved on. With this, his tenth studio release, I decided my time had come and I ordered the album without having heard a note.

After only three listens so far, the album has already captivated me and tunes randomly spring into my head when I am not listening to music. There seems to be so much on this double disc that is already familiar to me as far as sounds and styles go. As I listen, I am reminded of Nektar's "Remember the Future", Pink Floyd's "The Final Cut", The Beatles "Sergeant Pepper's Lonely Hearts Club Band", albums by Ayreon, and others that I can't quite name but spin around in the periphery of my musical memory banks while I listen to "Infernal".

This is crossover prog, so there is a strong pop element to most of the tracks. But I doubt such pop music could make it on the charts today. Perhaps in the nineties, a song like "We Only Have Eyes for You" could have attracted mainstream attention for a short while. The trick is, as in often the case with crossover prog bands, that while the melodies and music might seem deceptively simple, it's how the songs are constructed and how the instruments are employed in the song that lift an album like "Infernal" above the standard pop fare. It's easy to listen to. It's catchy. It's intelligent. And it's imaginative, creative, and fun!

I haven't paid that close attention but I believe this double album is divided into four sides as it would be for vinyl. On each side, the tracks segue into the next, creating a continuous flow as on many conceptual albums. Certainly there are highlights, be it a catchy vocal melody, some terrific guitar playing, or the appearance of strings with a steady bass drum beat. But more than the sum of all the ear-perking parts, the album plays through, short tracks and longer ones, like one enjoyable musical ride. This is an album that's very easy to listen to as an album. Just push play and enjoy the journey.

Sadly, other Phideaux albums are not as easy to get a hold of as they were a few years back when I first looked. This might be my only Phideaux album for now. But it was well worth the money spent. The digipak is also beautiful with lots of artwork inspired by the paintings of Hieronymous Bosch. All in all, it's a beautiful piece of work to have!

 Infernal by PHIDEAUX album cover Studio Album, 2018
4.14 | 176 ratings

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Infernal
Phideaux Crossover Prog

Review by Warthur
Prog Reviewer

4 stars So, here it is at last - the third part of Phideaux's epic prog rock opera trilogy which began with The Great Leap and continued on Doomsday Afternoon. If The Great Leap leaned hardest on the "rock" part of that equation and Doomsday Afternoon cranked the "prog" dial up to 11, the much-delayed Infernal is the "opera" phase, a double CD affair of torch songs and apocalyptic foreboding which wraps up the narrative.

It has its proggier moments, but I cannot put hand on heart and say it has anything quite as astonishing and exciting as the magnificent Micro Softdeathstar on Doomsday Afternoon. That said, Infernal is the beneficiary of a really finely judged mix - apparently the phase which caused all those delays, and in this case I'd say the extra time was worth it since bandleader Phideaux Xavier uses the production to make even comparatively routine material sound powerful and ominous.

 Infernal by PHIDEAUX album cover Studio Album, 2018
4.14 | 176 ratings

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Infernal
Phideaux Crossover Prog

Review by techchris

5 stars For the last several years I was anxiously searching the internet for any Phideaux related news every couple of month. Now, after seven years, the new album is finally here and it exeeded my already very high expectations! Infernal is an epic 90 minute masterpeace that manages to feel fresh, new and exiting but also deeply familiar and very Phideaux-esque at the same time. It's a very compelling mix of Doomsday Afternoon-like complexity, epicness that would feel right at home on a musical stage and a new-found catchiness which makes it very listenable even for prog-beginners. It's full of eastereggs and throwbacks to earlier Phideaux albums which mskes it a joy to listen to on repeat. In my opinion it's a perfect finish to the doomsday triology and my favorite album in years!
 Infernal by PHIDEAUX album cover Studio Album, 2018
4.14 | 176 ratings

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Infernal
Phideaux Crossover Prog

Review by BrufordFreak
Collaborator Honorary Collaborator

3 stars I will admit up front that I have never been much of a fan of Phideaux music; the band's releases have produced very little that have impressed or engaged me. I understand intellectually what Phideaux Xavier goes through to compose and put together his music--and I appreciate the knowledgeable sources extolling his compositional virtues--but no release, no song, no performance (save, perhaps, "Thank You for the Evil") has ever won me over as a prog lover (and I own all of the Phideaux studio releases). Phideaux's sense of melody and simplistic song constructions have never matched my own preferences (they have, in fact, mostly repelled me). And yet I get as excited as everyone else when news of a Phideaux release leaks out. I'm ALWAYS willing to give his stuff a chance. As a matter of fact, many is the time I've returned to older releases with the mindset of "I must have missed something" or "maybe I'm ready now." After all, I finally "got" and "liked" Gentle Giant and Van Der Graaf Generator! But, no, this album elicits the same responses and gut reactions from within me as the others. So sorry! I even find it a challenge to write a review because I have so little positives to offer--and I much prefer writing a review that raves or extolls the positive (though never afraid to offer criticisms in hopes of provoking band growth as well as more responsible listening among the consumer audience).

Disc 1 01. "Cast Out And Cold" (5:32) I'm intrigued. Something fresh and promising. (8.5/10)

02. "The Error Lives On" (7:15) intricately constructed but too quirky, too theatric, too enigmatic and shifty. (7.5/10)

03. "Crumble" (0:56) female vocalist over orchestral synths moving the story forward. (3/5)

04. "Inquisitor" (8:21) this album's new variation on "Thank You For The Evil." The vocal melodies in the verses are even nearly the exact same! Nice electric guitar work and excellent from the synthesizers. I actually like the male vocal performance, I just don't enjoy the Broadway feel provided by the piano base, background vocalists, and many divertimenti, bridges, codas, and other twists and turns familiar to me from stage crafting. Perhaps this is also why The Decemberists' folk rock operas have always failed to click with me. (8/10)

05. "We Only Have Eyes For You" (4:00) a pop rock song drawing constructive elements from many songs of the 60s and 70s and 80s, including Cream, Pink Floyd, and Blondie. (7.5/10)

06. "Sourdome" (1:31) an acoustic guitar and electric guitar showpiece necessary to give the stage crew time to change the sets. (4/5)

07. "The Walker" (4:39) this drum beat and guitar strum syncopation is just way too familiar--way over-used in all of Phideaux's work. My favorite aspect of this song is the constant augmentation of voices chiming in as the song progresses. (7.5/10)

08. "Wake The Sleeper" (1:30) solo electric guitar beneath emotional male vocal. The distortion effect used on the guitar sounds as if it came from the 1960s. (4/5)

09. "c99" (3:25) same pace, same plodding piano, same screaming guitar, same female vocalizations, nice drumming and synth play. Guitar play gets exciting/emotional in the second half. (8/10)

10. "Tumbleweed" (4:58) Why does Phideaux think that his piano play has to hold the 4/4 time? Even Elton John uses some syncopation and flourishes to make it interesting! This vocal cries out for some space--for a break from the incessant piano metronome. The "orchestral" build and crescendo of the second half helps. (8.5/10)

I just had a thought: Perhaps Phideaux Xavier should be creating musicals for Broadway!

Disc 2 11. "The Order Of Protection (One)" (4:35) spacious, echoing solo piano notes! What?! Did Phideaux hear my complaints? Chords and synth accompaniment ensue over which harmonizing female voices sing about shepherd's protecting sheep. Electric guitar and bass drum join in as male voice(s) takes a turn. A 80s Keith Emerson-like piece develops with a cheezy combination of keyboard sounds. If the musicianship were a little more complex they might get away with it. (7.5/10)

12. "Metro Deathfire" (4:58) Hasn't the author used up these type of titles? This one sounds like a kind of attempt at a Beatles/Bowie/Pink Floyd tribute song. (8/10)

13. "Transit" (1:14) an acoustic guitar interlude (3.5/5)

14. "In Dissonance We Play" (2:49) opens with power trying to emulate one of Roger Waters' angry anthems--and continues in the same vein for its entirety. At least it's using second gear. (8/10)

15. "The Sleepers Wake" (5:22) opens with some pleasant acoustic guitar work, soon joined by harpsichord-like keys. A folky Renaissance feel continues as female vocals join in. By the middle of the song, as the folkie Colin Meloy (The Decemberists) male voice joins in and takes over the lead, the song has evolved into more of Pink Floyd affair. Still, this is the best thing on the album. (9/10)

16. "The Order Of Protection (Two)" (4:33) a longer instrumental interlude (must be quite a complicated set change!) turns into a return to the opener of Disc Two. Nice vocal. He sounds committed. The 1/1 kick drum drives me crazy. Cheezy organ, sitar effect, and background vocal staccato "bah"s do not work for me. (8/10)

17. "From Hydrogen To Love" (14:04) the album's only prog epic opens with a bit of the sinister tension of GENESIS's "The Knife" while synths and ensuing vocal section shift it more into the realm of Steve Hackett solo stuff. Unfortunately, in the fourth minute it all falls into the tell-tale formula of a Broadway musical. The music tries to remain proggy with a kind of "Apocalypse in 9/8" rhythmic foundation and classic synth sounds used in the instrumental section in the sixth and seventh minutes. Back to Broadway with sudden mood and stylistic shifts over the next minutes. What a great ensemble piece this would make for a stage musical! (8/10)

18. "Eternal" (5:46) a 1960s Broadway happy-go-lucky love theme seems to open this song before all shifts into a LLOYD-WEBBER/Yvonne Elliman stage ballad. (8/10)

19. "Endgame - An End" (3:29) again, an awesomely visual stagecrafted song to end this wonderful homeless Broadway musical that is desperately seeking a theatric outlet. Ends with a bit of an "Unfinished Symphony" sound and feel to it. (8.5/10)

Mr. Xavier: you are really a very talented closeted Andrew Lloyd-Webber wannabe so why not try your prodigious talents at stage craft? A musical seems in order. I think you and your cast would find great success there.

3.5 stars; a solid album of nice music whose audience should perhaps be treated to the visual and theatric components of this very stage-friendly music.

 Infernal by PHIDEAUX album cover Studio Album, 2018
4.14 | 176 ratings

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Infernal
Phideaux Crossover Prog

Review by Einwahn

5 stars As a prog rock fan I expect to find esoteric music the most interesting, so I don't spend many hours with some catchy melody echoing in my brain. 'Infernal' has instantly changed all that. We all know Phideaux is a genius of melodic composition and here we have 89 minutes of relentlessly catchy tunes. 'Infernal' is the last part of a trilogy, and had a lot to live up to, as its predecessor was the massively-acclaimed 'Doomsday Afternoon' of 2007. For me, he has succeeded. A big mention for the gorgeous female vocals and superb bass parts. The lyrics are just completely wacky - they sound great but the whole trilogy is a music-fest rather than a meaningful message. But the same could be said, after all, for most Genesis albums.

Verdict: if a better album comes along in 2018, I will be very pleasantly surprised.

 Infernal by PHIDEAUX album cover Studio Album, 2018
4.14 | 176 ratings

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Infernal
Phideaux Crossover Prog

Review by javajeff

5 stars Yes, it is that good. Another super addicting release from Phideaux. If one album was not enough, almost 90 minutes of music should satisfy any progressive rock fan with Infernal. And 90 minutes is always a safe length when we discuss double albums. I never feel it is too long or too short, but just right. Of course there is excellent musicianship in Infernal, but Phideaux really shines with the witty lyrics. For me, I just take them in as there are many memorable lines that rhyme. I often do not focus on lyrics when listening to progressive rock, but Phideaux ropes me into the lyrics just like Peter Hammill does. And that is a good thing. The fact that there is a cello, trumpet, sax, and other guest performances should tell you how much variety is packed into this double album. It is all about the art, and using the right instruments to create the moods is Phideaux putting the music first. Album creation is not about him, and he even leads the album off with female led vocals. It is all about that art, and that is what makes Phideaux an amazing modern prog rock artist. I spent that last few days listening to Infernal and the back catalog, and it fits in nicely with the other releases. Every note is just right, and I feel like I have been listening to it for years. Highly recommended. 4.5 stars.
 Infernal by PHIDEAUX album cover Studio Album, 2018
4.14 | 176 ratings

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Infernal
Phideaux Crossover Prog

Review by CeeJayGee

5 stars I have eagerly awaited this album after the EP, We Only Have Eyes For You, was released earlier this year to whet our appetites. Not scheduled for release in Europe until 9 September 2018, I managed to get hold of a copy from Progrock Wales via Amazon.

The EP had seven tracks. The album has 19 but most of the EP tracks have evolved in the intervening months so it doesn't seem like there is much overlap between the two. The album is a massive double release. There is nearly one and a half hours of music and, when you listen to it, there does not appear to be any pause for breath. It seems like one piece of music with each track rolling into the next. Because of this I found it an extraordinary listen and I have kept playing the entire album on repeat whenever I get the chance.

Apparently this is the third instalment in a trilogy that commenced with Great Leap (2006) and continued with Doomsday Afternoon (2007). So in theory this has been 11 years in the making. There have been other albums Phideaux released in the intervening years but nothing since 2012. I am not sure what Phideaux Xavier has been doing with himself over the last six years but this has certainly been worth waiting for. A wonderful album.

 Snowtorch by PHIDEAUX album cover Studio Album, 2011
4.19 | 791 ratings

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Snowtorch
Phideaux Crossover Prog

Review by kev rowland
Special Collaborator Honorary Collaborator

5 stars 2011 saw Phideaux return with his eighth album, consisting of two epics and a couple of smaller numbers. This 45-minute-long album has taken everything that was in 'Number Seven' and has somehow then improved on it, providing music that has a stronger density, power and edge than what was there before. The dynamics and contrast between different elements are even stronger than before, the use of piano is inspired (and you can also never go wrong with a nice Mellotron), and his own vocals are perfect against the female foils. Yet again this is an album that is very dated in many ways, and totally up to date in others. I smiled when I saw that one of the subsections of the epic "Snowtorch ? Part One" was called "Fox on the Rocks", guaranteed to get interest from any classic proghead before they even listen to the music!

Themes come and go, repeated or extended, and there are times when the music moves into the realms of film scores, as is often the case with Karda Estra, and others where it is far more direct. There is a great deal of atmosphere within the music, and he resists the urge to provide punch guitar while long-term musical partner Richard Hutchins (drums) has long passages where his contribution is by not playing anything at all! I would surmise that "Snowtorch" the song was originally created and devised on piano, such is the prevalence of that instrument throughout, with other arrangements and instruments then added on top. I have noticed when reading reviews that somehow this album has polarised a few people who can't see what all the fuss is about, while many others rave about its being one of the best album of that year. I have never been one to fall in with the crowd, and have had my share of comments where people have been diametrically opposed to my opinions, but this time I am actually going to fall in with the consensus as this truly is a wonderful album, one that will be enjoyed the very first time it is played, and only grows in stature the more time that can be spent with it. "Number Seven" is a great album, but somehow this takes Phideaux and his band to a different level. It has stacks of Seventies influences, but this is a modern sounding album which is a sheer delight from beginning to end.

Thanks to ProgLucky for the artist addition. and to Quinino for the last updates

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