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PHIDEAUX

Crossover Prog • United States


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Phideaux biography
PHIDEAUX Xavier - Born 14/01/1963 (Hastings-on-Hudson, NY, 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.

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PHIDEAUX discography


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

1.77 | 58 ratings
Phideaux Xavier: Friction
1992
3.18 | 140 ratings
Fiendish
2003
3.62 | 188 ratings
Ghost Story
2004
3.85 | 283 ratings
Chupacabras
2005
3.47 | 164 ratings
313
2006
3.29 | 238 ratings
The Great Leap
2006
4.22 | 1009 ratings
Doomsday Afternoon
2007
4.03 | 565 ratings
Number Seven
2009
4.20 | 852 ratings
Snowtorch
2011
4.00 | 348 ratings
Infernal
2018
2.63 | 8 ratings
All Is Number
2020

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)

3.96 | 7 ratings
Lysogenic Burnt Offerings
2020

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

3.85 | 39 ratings
Tempest of Mutiny
2010
3.76 | 40 ratings
Strange Cloud
2010
4.09 | 58 ratings
Phideaux & Mogon Promotional Issue
2012
3.88 | 30 ratings
We Only Have Eyes for You
2018

PHIDEAUX Reviews


Showing last 10 reviews only
 Lysogenic Burnt Offerings by PHIDEAUX album cover Boxset/Compilation, 2020
3.96 | 7 ratings

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Lysogenic Burnt Offerings
Phideaux Crossover Prog

Review by kev rowland
Special Collaborator Honorary Reviewer

4 stars Released in April 2020, this is the first in what is planned to be a series of archival recordings from Phideaux. What we have here are demoes, different versions of songs, rough mixes, and work in progress, so in some ways is designed very much for the fan. I would be interested in knowing something about where each song comes from and the context behind it, but that is a minor quibble. I did immediately recognise the title of one song, "Have You Hugged Your Robot Today", here in a basic track version, which originally appeared on 2006's '313'. Given the nature of the recordings and the music, there is a great deal of variety, which gives an interesting introduction to someone coming across Phideaux for the first time. Interestingly, while some songs are credited to Phideaux, others are credited to just Phideaux Xavier, while others find him credited with others. It is one of these, "When The Day Breaks You Down (Mix 1)" which is credited to Phideaux Xavier with Tombstones In Their Eyes, which is probably the standout track on the album. Delicate vocals build over the top of a piano and drone as the song becomes a distorted metallic progressive monster. It is powerful, dramatic, with many different phases and I am at a loss as to why this is the first time it has appeared on an album.

Some tracks are more Floydian than others, with the live version of "Thank You For the Evil" leading the pack, where Phideaux is joined by female singers and the guitars combine with very fluid keyboards. Overall, this album should not be considered as yet another artist trawling through the archive and bringing out different versions and unreleased songs to milk the punters for even more. Firstly, as with all his catalogue this is a "name your price" release, and secondly this contains some really nice songs. It means that this is an album which even a newcomer to Phideaux can pick up and happily enjoy ? they do not need to already know the rest of the catalogue. I truly hope that more people will take the opportunity to discover the wonderful material of Phideaux Xavier.

 We Only Have Eyes for You by PHIDEAUX album cover Singles/EPs/Fan Club/Promo, 2018
3.88 | 30 ratings

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We Only Have Eyes for You
Phideaux Crossover Prog

Review by kev rowland
Special Collaborator Honorary Reviewer

4 stars It was only when checking through Phideaux's digital catalogue that I came across this EP, which was released in 2018. This is a 23-minute-long set which was designed to introduce people to the (then) forthcoming album 'Infernal'. Of the seven songs, five appear on that release, but here they are featured in different versions (including a live version of "Sourdome") while just "Protect The Order" and "Through The Clouds again" are not taken from that release. 'Infernal' was of course the end of a trilogy of albums which commenced with 'Great Leap' and 'Doomsday Afternoon', and Phideaux asks fans to consider this to be an appendix to that. Interestingly, there are currently no reviews for this EP on Prog Archives so I am not the only person who missed this altogether when it was released, and given that 'Infernal' is still ranked as #13 best album for the year that is a massive oversight from all of us!

So, what about it? Given that most of the material appears on 'Infernal' (albeit in different versions), and the title song appears twice (once as a "single" version, and once "stripped") it really isn't a surprise that this is very much in a similar vein to that double CD. Unlike his earlier material, here he brought in three different female lead singers, who also provided plenty of support, plus some wonderful cello and violin as he expanded the sound. There are times when it is simplistic, others way more complex, and it is the wonderful arrangements which grab the listener and refuse to let them go. Floydian at times, this is gentle and embracing music which brings in the listener and comforts them. When the guitars are fuzzed and distorted. they are the perfect accompaniment to the layered vocals, creating a harsher backdrop which is calmed by the smooth harmonies.

This release appears to have bypassed many fans of Phideaux, and they should take all steps to resolve that issue.

 Ghost Story by PHIDEAUX album cover Studio Album, 2004
3.62 | 188 ratings

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Ghost Story
Phideaux Crossover Prog

Review by kev rowland
Special Collaborator Honorary Reviewer

3 stars Although back in the day Phideaux Xavier sent me his second, fourth and fifth albums to review, I had never previously come across his third release, 2004's 'Ghost Story'. With him making his complete back catalogue available free as digital downloads I felt I ought to correct that and listen to this album some 16 years on from when it was originally released. One of the things I noticed, even before playing it, is that this is very much a group album instead of the rather larger ensembles which often appears. Here Phideaux (vocals, guitars, bass) is joined by the ever-present Rich Hutchins (acoustic and electric drums, gongs), Mark Sherkus (organ, piano, synths (MiniMoog), guitars), Gabriel Moffat (Fx) and guest Sam Fenster (bass). This is a small line-up indeed yet is the perfect size for a wonderful collection of songs. At times we find Phideaux channelling his inner Lou Reed, while at others it is incredibly psychedelic. Take "Kiteman" for example, it is really only the production that lets one know this is not from 1968 or 1969. In many ways this makes me think of Jeremy Morris, another musician who seems to be at home in whatever genre takes his fancy.

Vocals are very much front and centre, while acoustic guitar is also a mainstay of the songs, and it could almost be Cat Stevens with other instruments kept to the rear, so the emphasis is on the man behind the microphone. Rich is always there, providing the correct emphasis, which may be dramatic drum fills, a hard-hitting snare, or just sitting there doing nothing which at that moment is the proper accompaniment. The electric guitars, often fuzzed and distorted, are the ones which take us into more progressive territory, making us think at times of Pink Floyd and at others of Gong, with the overall result being an album which appeals across the board. Looking at the reviews on PA it is something of a shame to realise that there has not been a Collaborator/Expert review of this album for some 12 years, and given the amount of exposure the more recent releases have been getting I am quite surprised. This may be different in many ways to what he is now more well known for, but this is a delight and one which progheads need to rediscover, especially if they enjoy shorter more psychedelic material as opposed to more drawn out affairs.

 All Is Number by PHIDEAUX album cover Studio Album, 2020
2.63 | 8 ratings

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All Is Number
Phideaux Crossover Prog

Review by kev rowland
Special Collaborator Honorary Reviewer

3 stars Phideaux has had a few different starts to his career, releasing his debut album in 1992, but not really getting going until 2003 when he released ' Fiendish'. One thing he was also doing back then was giving away his CDs free of charge to anyone who asked for them, and when the Covid crisis hit he made the decision to make his digital back catalogue free. By now he is of course well known within the prog scene, having released a number of incredibly important albums within the genre, so this is an act of real generosity. On top of that he has also been trawling through his archives and making them available as well, and this is what we have with 'All Is Number'. He says 'Here is an ambient project comprised of tapes I made when I was in high school 1980. I've cleaned it up a little and made some modifications to the sound files. Metal machine madness, perfect to scare the neighbours! There are no songs on this record.'

He's not kidding either. With just an electric guitar, a reel to reel tape recorder and some drums (plus he has now cleaned it up with pro tools) he has created something which is hypnotic, ambient, but also with an edge. The tracks vary in length with one as short as ten minutes, but two are more than 20 while the other two are more than 40. Does it stand up against his current albums? No, of course not: these were recorded 40 years ago when he was still at school, long before he learned what he wanted to do with his music and while he was still heavily experimental. But as a piece of archive recording it is incredibly interesting, with more than a hint of krautrock about it. This is not music which is going to appeal to those who want it sat firmly in the mainstream, but for those of us who like to be a little more adventurous and challenge ourselves in our listening habits. With the tracks being so long I did find that when playing on headphones that time seems to stand still as all there is left in the world is the drone, the swirling change, and the images created in my mind.

This may not be the Phideaux we have become used to, but a very different, darker and avant garde version, and it is strange to think he was creating music like this when he was so young, especially given the lack of facilities to undertake home recordings like this back then. Intriguing.

 Infernal by PHIDEAUX album cover Studio Album, 2018
4.00 | 348 ratings

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Infernal
Phideaux Crossover Prog

Review by kev rowland
Special Collaborator Honorary Reviewer

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 | 58 ratings

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Phideaux & Mogon Promotional Issue
Phideaux Crossover Prog

Review by kev rowland
Special Collaborator Honorary Reviewer

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
4.00 | 348 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
4.00 | 348 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
4.00 | 348 ratings

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Infernal
Phideaux Crossover Prog

Review by Windhawk
Special Collaborator Honorary Collaborator

4 stars US band PHIDEAUX is the creative vehicle of composer and musician Phideaux Xavier. His tenure as a recording artists stretch back more than 25 years, but Phideaux as a band unit didn't appear until 2003. "Infernal" is the ninth studio production to appear under this moniker, and was released through Phideaux's own label Bloodfish music in the summer of 2018.

Those who know and love Phideaux's work will find a lot of pleasure from this long awaited double album as well, concluding a three part conceptual journey in good style and in a compelling manner. Retro-oriented progressive rock with symphonic rock orientation is the name of the game here, but where the stars of the show and the most vital ingredients, at least to my ears, are the vocals, the piano and the acoustic guitar. Those who love and cherish a well developed story and lyrics of the kind that begs for analysis and interpretations should also find this album to be worth seeking out, in addition to existing fans and those with a general taste for accessible, well made retro-oriented progressive rock.

 Infernal by PHIDEAUX album cover Studio Album, 2018
4.00 | 348 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.

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

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