PHIDEAUX : Doomsday afternoon (Self-production)
Review published in KOID'9 Nr62 – Summer 2007
(continued)

What is rather amazing in Phideaux's career, is that his albums are always different… Here we are with the sixth one in just about 4 years and it is easy to notice a new evolution. The die-hard progressive rock fans who are grumbling as soon as a track is less than 6-minute-long should be happy with this one… because this is just one long suite of pieces, with most tracks chained together or at least stuck one to each other, with 5 of them lasting 8, 9, 10 and even 14 minutes. I see some of them in the background whinging as they deduct that 5 others are short ! Stop it ! the whole album is 67-minute-long and everything is like a coherent suite of songs, with some themes repeated, etc. and it is a concept-album… So, you prog rock fundamentalists, is that enough for you ?!
The concept, is a kind of fable, or an "eco terror tale" , as the composer described it himself, the second part of a trilogy started with "The great leap".

Musically, "Doomsday afternoon" is pretty different, and in my humble opinion, noticeably superior to this previous album. Not because it's more progressive. "The great leap" contained already quite some melody and rhythm changes in tracks that were only 5 or 6-minute-long… Of course, that one is more complex, but the main reason is that it's a very symphonic album, at the same time calmer but stronger, melody-wise. Many intimate, pastoral passages and others that are more epic, majestic, where some classical, folk and progressive tones are mixed together, plus the inevitable psychedelic touches that are Xavier's trademark. The latter signs all the music except two tracks penned with his old pal, drummer Ritch Hutchins (whose playing is outstanding here) and the orchestrations by Paul Rudolph. Many instrumental sections, sometimes pretty long ones, come between the vocal parts. and yet the whole stays remarkably accessible.

Contrary to other bands where influences are too obvious, Phideaux's references are well assimilated, though we can find some slight similarities with some of Phideaux Xavier's favourite influences : Jethro Tull around the time of "A passion play" and "Thick as a brick", some 70's Italian progressive bands, Genesis, Camel, and of course, Pink Floyd. I would also add Renaissance. Though, this is original music, without a doubt. The record is divided in two "acts", 30 and 37-minute-long, each comprising 5 songs. (continued)


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