A new fable from Phideaux Xavier is a much anticipated thing, and with the new album AutoMoto Animus, he hasn’t disappointed us. It might just be the most accessible and accomplished outing to date. Prog tendencies are not abandoned, but reshaped with melody and a pop sensibility not always obvious before, and it is an artistic triumph.
Opening gambit Do What U Will is instantly catchy, with a distinctly ’80s vibe, somehow mashing up Depeche Mode and Von Hertzen Brothers musically, and referencing Aleister Crowley lyrically.
The Whole of the Law, the Thrall of the Thrill,
Welcome to reality, it’s all we know
Keep your grip onto this rock and don’t let go.”
It’s bouncy, commercial and infectious, but with more going on than is initially apparent; simple but detailed and nuanced.
Hey Humanity follows, a plea for humans to reach our potential perhaps? It is relaxed, melodic and memorable, with a Beatles-esque atmosphere, and wonderfully tasteful dual guitar interplay courtesy of Fernando Perdomo and Marcus Watkins, their strings shimmering with reverb. This opening pair of songs usher us into Phideaux’s sound world seductively. There is no turning back. Driving To Destruction changes the mood from reserved optimism to fatalistic realism as Phideaux observes the world going to hell in a handcart. It’s driven by Phideaux’s trademark thumping piano and is full of references to our obsession with driving, hence the album title one assumes. Despite its doom laden message, it is upbeat and catchy as the preceding songs.
After three great tunes, we settle down for a sumptuous romantic piece Stay With Me, an absolutely beautiful song crafted to perfection, with lovely female backing vocals from Ariel Farber and Molly Ruttan. It sounds personal and heartfelt, and brings the pace down, albeit briefly. Charlie Knew marks a return to some drama, both musically and lyrically. There is a stirring string arrangement by Kaitlin Wolfberg as Phideaux looks at Charles Manson and The Family, his cult followers who murdered Sharon Tate and others in 1969.
Gotta learn to ride the slide ‘cos all is fair when worlds collide.”
The song is full of references to the story that riveted America and the world at the time. Musically, it is richly dramatic, with fine performances all round, particularly Dustin Boyer on guitar and Vince Meghrouni on piccolo and sax. Again, it is a song which embeds itself in your head and won’t let go. Seriously, I’ve not heard a Phideaux album so immediate and memorable before, yet retaining an underlying complexity and a level of detail which repays repeated listening.
Siren in the Storm kicks off the second half as Phideaux finds himself lost at sea, and haunted by The Siren, played by Savannah Pope whose wordless vocals are beguiling and beautiful. The rolling percussion from Charlie Paxson sets off the watery treated guitar sounds as we wonder whether our lost sailor will return? His fate is unclear, but it’s a fabulous song. Enigmatic Terminus is basically Driving to Destruction part two, this time almost a funeral march, Molly Ruttan playing a simple beat augmented by Ariel Farber’s strings. Phideaux plays everything else as we head towards oblivion.
And so we come to the final track, and it’s the longest at 14 minutes, and so unsurprisingly the proggiest piece on AutoMoto Animus. It is epic in every sense, but not a typical prog epic as it is rather unpredictable, but a fantastic piece nevertheless. Legend of Mary Jo is apparently written from the perspective of Mary Jo Buttafuoco. She is famous for having survived being shot in the face by Amy Fisher, her husband’s lover who was 17 at the time. The song suggests that someone called Amy will come and wreak havoc in 2062. Whether the year in question is a reference the internet time traveler supposedly from that year who made various predictions and prophecies is unclear. It might even be a comedic reference to the Jetsons series from 1962 based 100 years in the future for all I know! Whatever, it is gripping tale, and could be taken on several levels. It is a roller coaster of a track with some marvellous performances from its cast of players, but despite its length, remains cohesive and satisfying in its composition. It’s easily the best ‘long’ track I’ve heard this year, with recurring themes from the rest of the album, making the whole album gel so well.
Some previous Phideaux albums have been hard to take in and fully appreciate until played numerous times. With AutoMoto Animus, Phideaux Xavier has created a piece of art which, while bearing repeated listening, is almost instantly likeable and memorable. It could be the best chance for the unconverted to jump on board, and I would heartily recommend that they do so. Now if we could just persuade him to play some live shows, that would be the icing on the cake!
TRACK LISTING
01. Do What U Will (4:46)
02. Hey Humanity (4:14)
03. Driving To Destruction (4:42)
04. Stay With Me (3:14)
05. Charlie Knew (4:05)
06. Siren In The Storm (4:00)
07. Enigmatic Terminus (3:58)
08. Legend of Mary Jo (14:14)
Total Time – 42:56
MUSICIANS
Phideaux Xavier – Piano, Keyboards, Bass, Acoustic & Electric Guitars, Vocals
Joe Berardi – Drums
Dustin Boyer – Electric Guitar, Synthesizers, Claps
Ariel Farber – Violin, Viola, Vocals
Roger Howarth – Vocals
Amanda Lynne – Flute
Vince Meghrouni – Flute, Piccolo, Saxophone
Rich Mouser – Electric Guitar, Keyboards, Percussives
Charlie Paxson – Drums, Talking Drum, Tabla, Tambourine, Percussives
Fernando Perdomo – Electric Guitar
Savannah Pope – Vocals
Kira Roessler – Bass
Paul Roessler – Drum Programming, Percussives, Treatments, Fancy Piano, Organ
Molly Ruttan – Drums, Vocals
Mark Sherkus – Organ, Mellotron
Naomi Adele Smith – Keyboards, Vocals
Johnny Unicorn – Bass, Vocals, Whistle
Marcus Watkins – Electric Guitar, Baritone Guitar
Angus Weir – Trumpets
Kaitlin Wolfberg – Strings
Nathan York – Bass
“Exposed” voices in Legend of Mary Jo – Juliet Mills, Marianne Muellerleile, Geoff Ball
ADDITIONAL INFO
Record Label: Independent
Country of Origin: US
Date of Release: 6th July 2026
