2018 no. 1: Phideaux

My Favourite Albums of 2018 - Number 1
Phideaux - Infernal

Where'd Phideaux go? It was an oft-repeated question for the last seven years. Whereas Phideaux Xavier and his band once released a new album every year (most of which are still very good), after 2011's acclaimed Snowtorch the man vanished off the face of the Earth. Well, music Earth, anyway. Turns out, he was busy winning Emmy awards for his work on General Hospital, or something. How dare he!

But now he's back and all is forgiven. The long-awaited sequel to 2007's breakthrough Doomsday Afternoon - still an all time classic - not only meets but surpasses all expectations. It does so with an effortless, almost casual flair. It's as if nothing happend. The band, ten people strong, has amazingly remained completely unchanged. It's as if they were never gone.

As expected, Infernal contains a lot of nods to the previous to albums in the trilogy - The Great Leap and Doomsday Afternoon. Some of the leitmotifs from both albums make appearances here, but Phideaux uses them sparingly, and gets them out of the way early on. For the most part, Infernal is its own thing.

It's not necessarily the easiest album to digest. Especially the first half takes some time to reveal all its secrets. Phideaux opens smartly by putting a lot of references to Doomsday Afternoon in the first couple of soungs. There's the third incarnation of "Crumble". Its first version was a lush, orchestral instrumental, the second one was a piano ballad and this one only has Valerie's vocals, perishing. The song has crumbled away... "Inquisitor" is a clear highlight of the first CD, but elsewhere the songs are less accessible. "The Walker" and "C99" for instance don't necessarily draw you in. But, after some time, all falls into place.

Infernal is that rare double album where the second half is the better one. Side three goes from "The Order of Protection Part One" to "Part Two" as basically one long continuous piece of ebb and flow, culminating in the fabulous instrumental vicory lap of the final movement. It's thrilling stuff. Where does he get all those wonderful musical ideas?

And then, there's the undisputed highlight of the album and maybe of Phideaux entire career: "From Hydrogen To Love", a song so ridiculously good that it will immediately elevate any album to instant classic status. It's a fifteen minute fireworks display of a song, and there isn't a second of it that isn't amazing. It's the perfect culmination of the Doomsday trilogy, which is now finally complete. I don't know where Phideaux will go from here, but I will gladly put up with another seven years of waiting if it gives me another "From Hydrogen To Love".

For 2019, there's a few progressive artists around set to release their first album in a while. These would be wise to take note of Phideaux. It must have been hard work, but he makes it seem so easy. The bar has been raised. Happy new year.