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