Phideaux Xavier – AutoMoto Animus | Progressive Rock Central.com

Phideaux Xavier is back with a new album!

On July 6^th, he will release his latest epic “AutoMoto Animus,” on the USA – based Bloodfish label.

His PR release states, “AutoMoto Animus,” finds Phideaux still keenly observing the world around him. It is a collection of mysterious, thought-provoking, and sonically seductive songs, that are neither a radical departure nor a return to familiar ground, but an extension and reinvention. Join us on this new journey. From the sublime to the absurd, from the poignant to the ironically hilarious, this record will keep you listening closely and tapping your toes.”

Phideaux Xavier’s PR release also states, “His first magnificent album was “Fiendish”, which introduced the folky, psychedelic sound that he would carry through all of his album journeys. And journeys they are, for the artist, musicians, and the fans. They are each something to experience as well as hear. You, the listener will get entangled in the mystery and intrigue found within Xavier’s storylines. “Ghost Story,” followed shortly after “Fiendish”, with a more glam rock emphasis. Then, “Chupacabras” was the first album that prog fans lean towards, with the 20+ minute “epic” title track highlighting the album. “313” was an album-in-a-day project that took shape with one day of basic writing and recording, then fleshed out over the course of the next year. Probably the most significant music achievement so far, for Xavier was “The Great Leap,” which was the first album in a three-part trilogy concerning “life in a dystopic ecologically disintegrating world.” His topics can be introspective and challenging, but the music is always engaging and fun for the listener, and “AutoMoto Animus,” is no different. I have reviewed “Snowtorch,” and loved it! It was amazing and took me back to so many “Supper’s Ready,” moments.

Artists performing on “AutoMoto Animus,” include: Joe Berardi, on drums; Dustin Boyer, on electric guitar, synthesizers, and claps; Ariel Farber, on violin, viola, and vocals; Roger Howarth, on vocals; Amanda Lynne, on flute; Vince Meghrouni, on flute, piccolo, and saxophone; Rich Mouser, on electric guitar, keyboards, and percussive sounds; Charlie Paxson, on drums, talking drum, tabla, percussion, and tambourine; Fernando Perdomo, on electric guitar; Savannah Pope, on vocals; Kira Roessler, on bass; Paul Roessler, on drum programming, percussion, treatments, fancy piano, and organ; Molly Ruttan, on drums, and vocals; Mark Sherkus, on organ, and mellotron; Naomi Adele Smith, on keyboards, and vocals; Johnny Unicorn, on bass, vocals, and whistle; Marcus Watkins, on electric guitar, baritone and guitar; Angus Weir, on trumpets; Kaitlin Wolfberg, on strings; Nathan York, on bass; and of course, Phideaux Xavier, on piano, keyboards, bass, acoustic and electric guitar, and vocals. “Exposed” voices include – Juliet Mills, Marianne Muellerleile, and Geoff Ball.

“AutoMoto Animus,” opens with “Do What U Will,” which includes the sounds of Phideaux leading a small choir, as he sings, “Ladies and gentlemen, boys and girls. All you citizens of the world. Come on – Do what you will. Welcome to reality we hope you stay. This is your choice and you’re all okay. Mired in a binary of good and bad. Give it up for everything you ever had. Ladies and gentlemen, boys and girls. Welcome to reality, the natural world.” It is full of a stomping good rock beat and melody which sets the album off in the right direction.

“Hey Humanity,” almost sounds like a conversation between Xavier and the world. He sings, “Hey Humanity! Let’s take a ride upon the world and feel the dream. Hey Reality, the odds that we are even here defy belief. From the ashes of our fathers. And the children of our brothers – I lay down. From the numbers we discovered. And the bones that we uncovered – I lay down. I lay down. Hey there Gravity Don’t bring me down I wanna fly so much to see. Hey – hey empathy Is that a tear up in your eye? Stay dry for me. From the monkey to the teacher. To silent monks and preachers – lay me down. From the mitochondrial mother. To Aliens undercover – lay me down. Lay me down.” It almost has an ELO symphonic sound in the middle of the song. The beat and the melody are friendly and easy to enjoy.

“Driving To Destruction,” opens with grinding electric guitars, drums, and choirs, bringing back that ELO sound I like. Xavier sings, “You pull so close to the cliff. You move so close to the brink. The first gear’s stuck in the last. The exit coming too quick. Automoto Animus – Enigmatic Terminus Terminal Tempestuous. The wind blows dust in your eyes. The danger only increases. You hear the wails and the cries. The car it falls into pieces. The car goes by. It’s way too late for advice. And no one seems to be steering. I’d like to think we’ll survive. But we all know what we’re nearing. So, we just wait for the crash. To bridge the gap to existence. Who will have the last laugh. Long live the resistance.” I hear and get the feeling of a great combination of sound, between mid-70s ELO and 80s David Bowie; which is a very excellent combination, indeed. Very enjoyable.

“Stay With Me,” is one of Xavier’s best vocal performances on the album. He opens with soft keyboards and drums singing, “Hey-oh we’re falling out to sea. It’s reaching out taking everything. Hey-oh don’t give in and please don’t leave me for the tide. Stay with me ’til the end of time, don’t go away, don’t break the line. Stay with me ’til the end of time, you know I want you by my side. Stay with me til the end of time, don’t go away inside I know the end is near. But some how you’re still here. And I know some are lost out there. But we don’t have to play their game. So please just stay with me ’til the end of time Together cross the final line. Be with me ’til the end of time, please don’t leave me behind Just stay with me. Just stay. Stay with me. You I want to make you mine, if only I could reach your mind. I don’t ever want to make a mistake with your heart. I don’t ever want to take it for granted that. We won’t start to come apart.” Phideaux Xavier reaching out to request that we all stay and turn the ecological ship of the Earth around to help save the Earth.

“Charlie Knew,” is a sad song of reflection about what is gone. Phideaux sings, “Charlie knew a thing or two, all he had belonged to you. What about the world outside – Charlie said we shouldn’t hide. And we said Charlie, Charlie, what do you know? Where did all the innocence go? Charlie knew a thing or two, told. The Family what was true. Gotta learn to ride the slide ‘cos all is fair when worlds collide. All is fair when worlds collide. But Charlie knew doesn’t matter what you do. Charlie knew, Charlie knew. Yes, Charlie knew always someone over you. Charlie knew, Charlie knew. In his hand he held a stone. Rocks will break and so will bone.” The piano playing and symphonic elements, like the brass, strings, and keyboards, took me right back to so many ELO albums I remember and love.

“Siren In the Storm,” is another one of the best songs on the album. It is also one of Phideaux’s best vocal performance, of perfect dream lyrics. He sings, to soft acoustic guitar, “I got lost in a storm on a boat with no oar. On a sea where I never had been. Found my way to the shore not the same as before. Now I’m here in the in-between. And when the clouds broke. Alive, I awoke to a misty world like a dream. But I’m fighting the smoke, I could swear that she spoke. Who’s that spirit guiding me? The Siren waits for me; I think I hear her calling. She whispers so silently. The Siren I can’t see – I know she’s out there beckoning me. And I wonder who could she be? Now, the storm may be done but the battle’s half won. And I know I can never be free. If I can’t find her – there’s no hope, no return I just have to dive in and believe. The Siren of the sea – I’ll swim until she rescues me. I feel her presence dawning like a light that rises brilliantly. And she smiles so beautifully.” Savannah Pope’s wonderful vocalization solo will take you back, a little, to memories of, “The Great Gig in the Sky.”

“Enigmatic Terminus,” opens with beautiful violin and strings. Then, the grinding electric guitars join in. Phideaux sings, “Driving to destruction down the river moving wildly. Driving to destruction and the World turning blindly. Driving – I’m driving into destruction. Driving to destruction down the river flowing wildly. Driving to destruction and the World turning blindly. Driving – floating into destruction. Driving – driving to destruction. Floating into destruction. Driving – Terminal Technopolis. Driving into destruction – Enigmatic Terminus. There is no divide. Floating into destruction. Watch the car go by – into destruction.” Yes, some days lately it does feel like that globally.

“Legend Of Mary Jo,” is the powerful epic closer that almost every progressive rock legend uses to complete their album compositions. And Phideaux definitely knows how to close an album epically. This song is the best song on the album, for sure. It is a sad song and somewhat based on the real-life story of Mary Jo Buttafuocco. It is an over 14-minute epic prog symphony. I found this on Google, “On May 19, 1992, (which was yesterday, 34 years ago, as I’m writing this review), Buttafuoco was shot in the face by 17-year-old Amy Fisher, who at the time was having an affair with Buttafuoco’s then husband Joey.” The moral of the story seems to be that despite all the failures of her husband, Joey; Mary Jo, hung on and stayed with Joey for many years after this shooting. So maybe the link is, despite all the horrible things we’ve done to the environment, we need to hang on and try to make the best of what we have left. And wait for the momentous time of World’s End to arrive. Phideaux sings, “My name is Mary Jo Buttafuocco. And I prophesy the end of everything we know. My name is Mary Jo Buttafuocco. And the time is closing in, let us now begin. In the year 2062. Amy will come for you. She will ride a white stallion and lead a battalion. And seven score trumpets will sound. In the year 2062 Amy’s made up for you. If she finds you are willing, she will come for the killing. ‘Cos Amy stands her ground – she won’t be put down. From her souped-up body shop all her Commando’s drop. And Amy’s Army storms through this weary world of form. Driving down the silver streets, Amy’s on the go. And fear’s a funny thing, just like vertigo. And Amy just wants to show the only thing that she knows. That she’ll survive “I can get you weaponry,” said Amy geared for the show. “How ’bout a mass casualty, ‘cos life is just too slow. Let’s make like life is a joke, the Holy Ghost is just smoke… And Amy dreams of the lights. And all the scraps and the fights – but she survives. My name is Mary Jo Buttafuocco. And, I prophesy the end of everything we know!”

All of the songs on “AutoMoto Animus,” was discovered by Phideaux Xavier (p)(c) 2024. The album was published on Bloodfish Music (BMI). The album was produced by Paul Roessler Recorded at Kitten Robot Studios, Los Angeles, from 2021-2024. The album was mixed by Rich Mouser at The Mouse House. The album’s cover art was created by Linda Ruttan-Moldawsky. All graphic design was created by Molly Rutta. The album was recorded at Kitten Robot studios, Los Angeles between, 2021-2025. The music was mixed by discovered by Phideaux Xavier

Phideaux Xavier’s “AutoMoto Animus,” is another epic journey for this modern legend of progressive rock. He is like Midas, everything he puts his name on is like gold. This is an entertaining album and journey with a message. I’m sure there is plenty of great music to hear throughout this album for even the newest progressive rock fan. “AutoMoto Animus,” is an album you can easily enjoy and get immersed within. Phideaux Xavier has never made a bad album, and that consistency continues here. Enjoy Phideaux Xavier’s “AutoMoto Animus,” as it rises through the charts.