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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
$17.48
$149.95 (used)
Phideaux & MogonPhideaux & Mogon
Limited Collector's Edition
Bloodfish
$19.99
We Only Have Eyes For You (EP)We Only Have Eyes For You (EP)
Single
Bloodfish Media 2018
$7.99
$7.22 (used)
SnowtorchSnowtorch
Bloodfish Media 2011
$20.00
ChupacabrasChupacabras
Explicit Lyrics
Bloodfish Media 2005
$8.00
The Great LeapThe Great Leap
Bloodfish 2006
$13.99
313313
Bloodfish Media 2006
$13.40
Number Seven (Remastered)Number Seven (Remastered)
Bloodfish Media 2010
$15.99
Number Seven (Remastered) by PhideauxNumber Seven (Remastered) by Phideaux
Bloodfish Media
$15.99
$23.52 (used)
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PHIDEAUX discography


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

1.77 | 49 ratings
Phideaux Xavier: Friction
1992
3.14 | 119 ratings
Fiendish
2003
3.64 | 170 ratings
Ghost Story
2004
3.88 | 257 ratings
Chupacabras
2005
3.46 | 144 ratings
313
2006
3.27 | 210 ratings
The Great Leap
2006
4.22 | 923 ratings
Doomsday Afternoon
2007
4.03 | 526 ratings
Number Seven
2009
4.19 | 785 ratings
Snowtorch
2011
4.31 | 103 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)

3.84 | 36 ratings
Tempest of Mutiny
2010
3.74 | 37 ratings
Strange Cloud
2010
4.12 | 49 ratings
Phideaux & Mogon Promotional Issue
2012
3.96 | 23 ratings
We Only Have Eyes for You
2018

PHIDEAUX Reviews


Showing last 10 reviews only
 Infernal by PHIDEAUX album cover Studio Album, 2018
4.31 | 103 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
4.31 | 103 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
4.31 | 103 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
4.31 | 103 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
4.31 | 103 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 | 785 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.

 Number Seven by PHIDEAUX album cover Studio Album, 2009
4.03 | 526 ratings

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Number Seven
Phideaux Crossover Prog

Review by kev rowland
Special Collaborator Honorary Collaborator

4 stars It probably comes as no surprise to anyone, given the title, that is the seventh album from Phideaux Xavier (looks like everyone, Phideaux included, discounts his very first release some 11 years before the next, which was more a series of demos than an album). I have only just come across his work again, having not heard anything since 2007's 'Doomsday Afternoon', so this 2009 album is for me a 'new' release and the first think that went through my mind when playing it was that I had actually forgotten just how damn enjoyable his music is! He has again brought together a cast of musicians and singers to create an album that is incredibly layered, with lots going on, yet at all times is just so very easy to listen to indeed.

The use of different instruments to repeat musical motifs is inspired, while bringing in sax and violin adds a real sense of richness to the palette. In many ways it is hard to work out where to begin with this, as there is just so much going on, and so many different influences being brought to bear in what is an incredibly complex and rich piece of work. Some of the more obvious are Greenslade, Gentle Giant, Pink Floyd, Rick Wakeman and VDGG, but to be honest it is possible to point at lots of different progressive rock bands and say that they have had a part to play in the end result. But, the one thing they all have in common is that they were in their heyday in the Seventies, and in many ways that is where this album belongs. The songs are commercial and catchy, and while there is little in the way of bombastic swathes of music, there is the impression that the sheer refusal to settle into any one particular style or form is taking us back to when it never really used to matter. It is almost as if punk never happened an instead we have highly trained and adept musicians delivering music that can only be played by such, no three chord wonders here, while all the singers have a distinct part, whether they are taking the lead or providing harmonies.

As I write this, I see that according to ProgArchives this album is currently #22 in the 2009 charts, but to my mind this should be far nearer the top than that. This is a gorgeous well rounded release that has really reminded me of just how strong an artist Phideaux is, and I look forward to hearing more in the very near future!

 Snowtorch by PHIDEAUX album cover Studio Album, 2011
4.19 | 785 ratings

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Snowtorch
Phideaux Crossover Prog

Review by kenethlevine
Special Collaborator Prog-Folk Team

4 stars Those of us who didn't learn about prog from our parents have probably given some thought to the music we would like to have played at our funeral, and may even have firm choices in this regard. But what of the apocalypse? What would we like to hear as we are disintegrating? I'll go a step further and say that I would like to be around the whole PHIDEAUX entourage at the end of days. Their ability to produce dramatic vaguely self deprecating prog tributes to planetary cataclysms is without peer. And it's that innate sense of humour which would come in handy when we can no longer laugh at ourselves. "Snowtorch" is another in a series of such paeans. As usual, the exact meanings are somewhat subjugated, but the culprit here might be global warming.

The album boasts an appealing and accessible structure. The two lengthy epics are more or less mirror images of each other, progressing from one well developed theme to another, with an appealing blend of symphonic keyboards, violin, lead guitars, and male and female vocals in the service of enjoyable melodies of moderate complexity. The delivery walks a tongue in cheek tightrope between classic prog gravitas and Broadway bombast. My favourite line among many is when one of the female singers gleefully warbles "I'm only here to spread some fear, I need you to know you will die, and not very nicely, surprise". Please take me now!

The remaining 2 tracks revisit themes on the suites. "Helix" belts out one of the better vocal parts in a slightly more drawn out fashion that accentuates, or perhaps fabricates, a bluesy lineage. The finale returns to one of the instrumental themes and re-brands it as something you might hear under the celestial "big top".

Another winner from PHIDEAUX, "Snowtorch" doesn't quite have enough ideas for a musical tsunami but its blend of the sublime and the ridiculous is easy to warm up to.

 Snowtorch by PHIDEAUX album cover Studio Album, 2011
4.19 | 785 ratings

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Snowtorch
Phideaux Crossover Prog

Review by Prog Leviathan
Prog Reviewer

5 stars Snowtorch is another impeccable feather in Phideaux's prog-rock cap, filled with artistry, lyricism, and a rousing energy that entertains from start to finish.

If you've never heard Xavier Phideaux's work, it's sort of a retro take on prog-rock blended with darkly moody folk, electronic, rock, and symphonic sounds. The end result is something that is both old and new and wonderful. It's genuinely engaging stuff, and Snowtorch continues this legacy excellently.

In general, this album is slightly heavier, darker, and more intense than the previous two (outstanding) albums. There's more edge to the guitar and less of the ambient moments that I so enjoyed on Doomsday Afternoon; however, this doesn't detract from the effect. In fact, the more intense guitars and raw vocals simply give us a new side of the same Phideaux.

The extended opening work begins mysteriously, moving in to an upbeat and tension-filled series dramatic melodies. Kennedy's bass guitar lines are smooth and powerful, while the keyboardists are upfront and dynamic. As usual, Xavier is joined by the feminine vocals of Gracious and Ruttan, who add a fantastic level of depth to grace to the music, which is ambitiously written. While not filled with standout instrumental solos or "wow" moments, the composition is complex and exciting. The song transitions into its second movement, which has exceptionally powerful guitar work, and then into a creative instrumental closing. What more could you ask for?

"Helix," the only short tune on the album, shows off more of Phideaux's outstanding writing; Snowtorch has some of his best lyrics yet. Crypitc, evocative, and yet somehow deeply resonant, the ladies' delivery is outstanding. The final half of the Snowtorch suite continues the combination of rousing, post-psychedelic-folk-symphonic-art- prog-rock (a new category here on the Archives?). There are countless moments to grab hold of and remember from this album.

Another tour-de-force by Phideaux, one leaving me simultaneously satisfied yet eagerly waiting for he and his band's next work. First rate prog-rock and highly recommended.

Songwriting: 5 - Instrumental Performances: 4 - Lyrics/Vocals: 5 - Style/Emotion/Replay: 5

 Snowtorch by PHIDEAUX album cover Studio Album, 2011
4.19 | 785 ratings

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Snowtorch
Phideaux Crossover Prog

Review by RaelWV

4 stars I have a bone to pick with Phideaux, the Los Angeles-based band helmed by guitarist/vocalist/composer Phideaux Xavier. Almost everything they've released since 2006 are conceptual pieces that promise to be ongoing. Yet, rather than provide part three of the trilogy started with The Great Leap, they produced Number Seven. Instead of the promised a quick-on follow up to that one, called, creatively enough, 7 1/2, we get Snowtorch. Can't they follow through with anything?!?

OK, that's not really a bone I'm too prone to pick when the tangential results are as good as Snowtorch (and Number Seven, for that matter). Running just long enough to fit onto one side of a 90-minute cassette, Snowtorch is the band's most overtly proggy release to date. A good hunk of the two epics (parts one and two of the title track) are given over to extended instrumental workouts stretched over shifting meters and rhythms. But workouts are (or sound to be) carefully constructed passages, not just a clump of aimless jamming. Themes rise, fall, and appear again minutes later. This is what epic prog should be.

Lyrically, the album is as inscrutable as ever (at least to me ? I'm not very good a digging deep meaning out of things, as my high school English teachers), but we seem to be dealing with the origins of the Earth and life upon it. Shouldering that burden, vocally, is Xavier, of course, and his usual cohort of female vocalists. One of them (Valerie Gracious, I think) comes to the fore on "Helix," which acts as the meat in the "Snowtorch" sandwich. What common sense might say should be a calm port in the storm between the two halves of the epic instead booms out at you, thanks to the vocals.

One of the things that has always appealed to me about Phideaux's music is that it so often has a relentless sense of forward motion to it. I'm not talking about a drum beat rhythm (although that helps), but rather the rhythmic churning of the rest of the band that propels things forward. Snowtorch has that feel in spades, almost relentlessly pushing itself to the end of its 45 minutes. By the time we've reached the short instrumental finale (a sort of cooling off exercise), it's been one hell of a ride.

In the end, Snowtorch takes the Phideaux sound and cranks the proggy elements up to 11. Along the way, it's still full of the fantastic lush arrangements that make the band so fun to listen to again and again. Pick this one up ? it'll be one of the best of 2011.

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

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