FEATURED CD - Phideaux : Doomsday Afternoon

[Duncan Glenday]

Per Sea Of Tranquility:

The progressive rock band known as Phideaux have released their latest and perhaps most accomplished work here with Doomsday Afternoon, a near 70-minute prog opus that is sure to sratch that 70's symphonic itch that many fans of the genre have on a regular basis. Phideaux Xavier & crew have revisited some of the sounds & styles of their previous work Chupacabras on this one, and taken it to a new level, bringing such influences as Yes, Allan Parson Project, Jethro Tull, & Pink Floyd to the table, yet the music sounds fresh and modern with just enough of a vintage touch. Adorned by the lovely artwork of Molly Ruttan (who worked with the band on their last release The Great Leap), Doomsday Afternoon just looks and feels like old school prog from a visual perspective, and the feeling is cemented when you hit play and begin to soak in the sounds. Just listen to the lovely Moog & Rhodes work on "The Doctrine Of Eternal Ice (Part Two)", or the complex, symphonic passages that permeate "Micro Softdeathstar", for examples of tasty, melodic prog. If you like more atmospheric & meditative sounds, check out the Pink Floyd paced mind-blower "Thank You For The Evil", which is littered with lilting guitar strums, spacey synths, and haunting vocals. The presence of members of the Los Angeles Philharmonic adds a classical touch to a few of the songs, and there's even a splattering of flute here and there which brings a nice pastoral element.

This is really wonderful stuff here, and there's no doubt that Doomsday Afternoon will sit near the top of many a prog fans lists of best albums this year when it is all said and done. Melodic, textured, emotional, symphonic, and vintage sounding-this release is all this and more, and a prog rock album not to be missed.

Reviewer: Pete Pardo
Score: 4 / 5

At the risk of irking Glass Hammer fans, Doomsday Afternoon is one of the most beautiful-sounding retro-prog albums I've heard in a long time. Resplendent with appealing male and female vocals, layers of lap-steel and electric guitar, walls of Hammond B3 and Minimoog, an understated orchestra, mind-shifting moods, and eye-popping cover art and booklet illustrations that look like a mad mix of King Crimson, Genesis and Marillion imagery, this 10-song, two-act opus sounds better with every listen. Leading man Phideaux Xavier has overseen a tremendous peice of work, allowing the music to unfold smoothly — unrushed and uninhibited, ultra-melodic and highly sophisticated. Doomsday Afternoon is easily Phideaux's most accomplished work, and its 66-minute running time feels more like 46 minutes. When ordering the new Glass Hammer CD, don't forget to put aside some hard-earned cash for this thing, too...

Reviewer: Michael Popke
Score: 4.5 / 5

http://www.seaoftranquility.org/revi...ontent&id=5663

[JKL2000]

Is this album considered Phideaux's best?

[NogbadTheBad]

I only have two of his, this one & the follow up Number Seven. I like both but prefer Number Seven. I don't typically go for this type of retro stuff but Phideaux executed it extremely well and it has a lovely feel to it. I do tend to reach for these two (amongst others) when I want to scratch that particular itch.

[zombywoof]

Is this album considered Phideaux's best?

Its certainly his best known.

A truly magical album, if you ask me. Not a bum note on it, though I just slightly prefer Number 7. Back in High School, someone suggested this to me when I was searching for epic modern music that utilized a lot of wind and string instruments. I bought this album on the strength of "Formaldehyde" and can still remember the hours spent on buses for band trips in high school, when everyone else was asleep, that I spent listening to this album on repeat. Later, I got to know its creator a little bit better through Facebook correspondence and NEARfest and am eagerly awaiting its sequel (meant to complete the trilogy which started with 2006's "The Great Leap"), due sometime this year.

[PotatoSolution]

"Doomsday Afternoon" is one of my favorite albums of all time.

The gothic, symphonic melodies combined with the apocalyptic lyrical themes ... it's like Phideaux recorded the music that plays inside my own head.

[3LockBox]

At the risk of irking Glass Hammer fans, Doomsday Afternoon is one of the most beautiful-sounding retro-prog albums I've heard in a long time.

Phideaux and GH are similar in motive, but not motif.

Candybrain is a killer bit of '60s psychadelic pastiche.

[bill g]

I sure like Phideaux's music. Can't pick a favorite.

[Chuck AzEee!]

I love this album, extremely well executed as mentioned. I hate comparing this band to Glass Hammer and really don't prefer either to each other.

[Azol]

Absolutely love Number Seven, but still have to discover this one...

[Jefferson James]

Dig this one, Number Seven and Snowtorch a whole, whole bunch; I don't really hear a Glass Hammer similarity.

[gingernut]

Listened to this about 3 times and Thankyou For The Evil is a great track. The rest has yet to hit home though. I guess it needs to click. Definately an artist I will persevere with.

[PotatoSolution]

The rest has yet to hit home though. I guess it needs to click.

I recommend starting with the two versions of Crumble, both are achingly beautiful (and the version with vocals adds a dark tinge).

Also take a good listen to the closer, "Microdeath Softstar". It wraps up all the themes played throughout the album and slows to an amazingly eerie ending.

[bobert]

Being that every Phideaux cd is excellent it really is hard to pick a favorite, but if I had to pick one it would be Doomsday Afternoon. Just a fantastic album.

[Progatron]

This is my favourite, but I love them all. Absolutely outstanding album from beginning to end. After hearing a couple of his albums, I said to hell with the cost and ordered every single one of them.

[gryphs also]

I have them all. I love them all. But Doomsday would be a desert island disc for me. In piano intro to the whole recording is so Peter Hammill. I'd love to see what Phideaux could create collaborating with Peter Hammill or Matthew Parmenter. Hey, I can dream, can't I?

[JKL2000]

I got Snowtorch at NF Apocalypse but have yet to listen. I need to rectify that and get this one based on all the above comments.

[gimmetrons]

This was my introduction to Phideaux and it remains my favorite, although others, especially the more recent ones imho, come close. And the earlier records are well worth the listen as well. But that first "Crumble" on Doomsday....shivers, man. I just played Seven a couple days ago, and it is most definitely a worthy follow-up. I honestly have not given Snowtorch a fair listen yet. But I eagerly await part three of the Doomsday trilogy, and anything else to come. (I also have to give a rave review to the show the whole band put on at ROSFest a couple years ago. A wonderful survey of the Phideaux Oeuvre...)

[zombywoof]

I have them all. I love them all. But Doomsday would be a desert island disc for me. In piano intro to the whole recording is so Peter Hammill. I'd love to see what Phideaux could create collaborating with Peter Hammill or Matthew Parmenter. Hey, I can dream, can't I?

I love his whispered count off. Always gives me chills.

[flowerking]

This is my favorite of Phideaux's releases and I'd put it in the top 5 releases of the 21st century. Crumble (with vocals) is an absolutely beautiful song. It brought about a standing ovation when they performed it at Rosfest a couple of years back. I can't put my finger on why I think this, but his writing style on his last few (this one, Number Seven, Snowtorch) seems very reminiscent of Jethro Tull in the 70s.

[The Fantastic Progo Rican]

This album holds a very special place in my heart, not only is a sweet piece of progressive music, also my first album by Phideaux and also because I tried to buy it from Amazon, but when I ordered, it went out of stock and they put my order on hold. I contacted Mr Phideaux through Facebook asking him when he was going to restock and he offered to send me a copy, when I asked him how much I owed him, he refused to charge me, things like that you never forget.

[zombywoof]

This is my favorite of Phideaux's releases and I'd put it in the top 5 releases of the 21st century. Crumble (with vocals) is an absolutely beautiful song. It brought about a standing ovation when they performed it at Rosfest a couple of years back. I can't put my finger on why I think this, but his writing style on his last few (this one, Number Seven, Snowtorch) seems very reminiscent of Jethro Tull in the 70s.

That's because PX is a HUGE Tull fan. His first concert was TAAB, afterall...

[MR654]

Tough call here because they are all good. This one is especially hard to find but I managed to score a used one on Amazon a few months ago for under $10. The vocal version of Crumble is goosebump material. Hearing Valerie Gracious singing it live 10 feet away from me was pretty hard to describe. One of the high points in 40+ years of concert going.

[Yves]

I preferred his earlier works. "The Great Leap" and "Ghost Story" have shorter, darker songs, which I prefer over this sprawling opus.

[gryphs also]

Hearing Valerie Gracious singing it live 10 feet away from me was pretty hard to describe.

For me, it was her singing "Helix". To me, that song displays both the power and beauty of her voice.

[zombywoof]

For me, it was her singing "Helix". To me, that song displays both the power and beauty of her voice.

Phideaux's girls ROCK!!