PHIDEAUX

Thrilling third and fi­nal part of this eco-ter­ror con­cept tril­ogy.

Prog - - Intro - PW

Phideaux Xavier (pray you never get asked to an­nounce his name over a PA – peo­ple might think you’ve just started cough­ing) makes mu­sic as star­tling as the name his par­ents graced him with. This dou­ble al­bum is the fi­nal part of a tril­ogy of re­leases that be­gan in 2006 with The Great Leap. That was quickly fol­lowed up a year later with Dooms­day Af­ter­noon, which called on a dozen play­ers from the

Los An­ge­les Phil­har­monic Au­di­ence, among oth­ers, to help Phideaux get his mes­sage across. Time has done noth­ing to blunt his en­deav­our, am­bi­tion or scope. This dou­ble-disc, 19-track set con­tin­ues his self-pro­claimed ‘eco-ter­ror tale’, and very good it is too. Yes, it’s epic, overblown and pos­si­bly over­long. Nev­er­the­less, it con­jures up im­ages of Alice Cooper at his con­cep­tual apex, Queen­srÿche at their most ob­scure, and is lav­ish and over­wrought to just the right de­gree. In Dis­so­nance We Play could fea­ture in a West End mu­si­cal (and might yet), which is true of a few of the num­bers fea­tured here. Mean­while, the 14-minute From Hy­dro­gen To Love is pure pomp and cir­cum­stance, and it’s as ap­peal­ingly overblown as its ti­tle im­plies.

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