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

The first act begins with "Micro softdeathstar", an eleven-minute suite that really brings you... "somewhere else", with its multiple sections, at the same time orchestral, with some eastern-like music and psychedelic overtones. Xavier delivers a really lovable vocal performance, helped by his friends the female singers. Here's a musician who is not the best singer in the world but his high-pitched voice is always right and sensitive, sometimes moving in the most intimate moments. "The doctrine of eternal ice part 1" is a catchy, clearly symphonic piece, with eastern and folky elements, with prominent piano, synths, electric guitar and orchestra. "Candybrain" is a more dreamy track, with an organ, electric guitar harmonies, acoustic guitar and flute, that is using a theme from the first track. A magical moment is the short but touching "crumble", in his instrumental version, with only some ethereal vocalises by Valerie Gracious, piano, organ (in the style of Tony Banks circa 70-72 !) and orchestra, a little bit of lapsteel guitar. Finally, "The doctrine of eternal ice part 2" is a bit more synthetic and psychedelic, with a long instrumental development.

The second act is maybe more symphonic and even more beautiful than the first one. "Thank you for the evil" will maybe reminds to some people the quieter and dreamy parts from the underestimated Pink Floyd masterpiece "Animals". The vocal melody performed by Phideaux and his friends develops over a specific blend of futuristic synths, electric piano, acoustic and electric guitars, supported by a solid rhythm section where the bass guitar contributes to the melody. This is connected to the next piece, a purely symphonic one, with some pastoral flute and violin ("A wasteland of memories"). We're close to orchestral film music here. Let's just say that it's simply beautiful. We go on with another version of "Crumble", connected to the previous track, with that simple melody on the piano and the cristalline and touching voice of Valerie Gracious (who truly deserves her last name !). The long and changing "Formaldehyde" is more dynamic and more typically progressive (quite a lot of rhythm changes) and finally, the huge "Microdeath softstar" comprises all of the previous elements heard in the album and brings it to a end in a majestic manner, though the real ending is intimate and soft, as the album started initially… we've come full circle – and with such a class !

By the way, did I tell you that the album's production is excellent ? The orchestra is perfectly mixed with the other instruments and each of those instruments is clearly audible, which is an exploit, considering the richness of the arrangements. (continued)


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