Phideaux
„AutoMoto Animus“
Blue Vinyl, Gatefold. Prog-Pop, Pop, Prog-Rock. 2026.

How long have I waited for a Phideaux vinyl album? 20 years! Except for one CD, ironically their best and most progressive album, "Doomsday Afternoon," I own all their physical releases. After "Infernal" in 2018, there was almost complete silence, and now, eight years later, finally a new album. With "Doomsday Afternoon," "The Great Leap," "Chupacabras," and "Number Seven," Phideaux has already set the bar incredibly high. So, how does "AutoMoto Animus" measure up?

The album cover and design are certainly beautiful. The blue disc needed a run through the record cleaning machine, after which the sound improved significantly. Although the soundstage could be a bit better. That covers the technical aspects, and now we come to what really matters: the music.

I don't usually try to refer to an artist's earlier albums. However, anyone hoping for a work like "Doomsday Afternoon" will be disappointed. Although Phideaux's style is immediately recognizable, though this Album leans somewhat towards pop. Nevertheless, it possesses prog elements, and that's a good thing. Unfortunately, it doesn't reach the creative heights of "Fiendish" and "313." Those two albums, in particular, with their diverse styles and genres, were difficult to categorize. With that out of the way, we can focus entirely on "AutoMoto Animus." 

"Do What You Will" is a typical, melodic pop song. And really good pop is rare. "Hey Humanity" is a more typical Phideaux song, and here prog-rock finally comes into play. A really good track. "Driving To Destruction" actually leans towards prog; it's too contradictory for pop. "Stay With Me" is a song that somehow reminds me of the album "Doomsday Afternoon." And this ballad also suits Phideaux. Not the best track, but nothing that pulls me away from the album either. "Charlie Knew" relies more on the lyrics; the music is just okay.

Side B more than makes up for it with the first song, boasting a fantastic prog feel and folky undertones. I particularly like "Siren In The Storm." Xavier Phideaux is clearly very lyrically driven. He has a real knack for how individual words can come together to create a graceful rhythm. "Enigmatic Terminus" doesn't really fit into the pop genre either; thankfully, it's anything but catchy. Prog is calling. Phideaux fuses different genres on this album, and he does it quite well. The final track, "Legend Of Mary Jo," is the long track I've been longing for, clocking in at over 14 minutes. It's precisely because it sounds like Phideaux, yet bears fewer resemblances to his earlier long tracks. For me, it's the heart of the album.

Conclusion

Unmistakably Phideaux, yet not a "Doomsday Afternoon," and that's a good thing. We already have that excellent work; anything else would just be a pale imitation. In that sense, Phideaux has successfully bridged the gap between his past and present. His lyrics, in particular, which range from sublime to absurd, from mystical to surreal, from realistic to brutally honest, define the unique character of this album.

On first listen, I wasn't convinced. It didn't sound cohesive. Neither new nor old. So I slept on it, and at least the long track appealed to me. So I listened to "AutoMoto Animus" several times, and then it sank into my mind and my heart. It's typical Phideaux, yet I can feel the evolution. An album that needs time and then unfolds its magic.

Bass – Johnny Unicorn
Vocals – Phideaux Xavier, Ariel Farber, Naomi Adele Smith, Johnny Unicorn
Guitar – Phideaux Xavier, Rich Mouser, Fernando Perdomo
Keys – Phideaux Xavier, Pail Roessler, Mark Sherflus, Naomi Adele Smith
Drums – Joe Berardi
Other – Armanda Lynne, Johnny Unicorn (flutes), Vince Meghrouni (saxophone), Angus Weir (trumpet)

The photos are all from my LP. The rights to all motifs, logos, texts and fonts that can be seen in the photos are of course owned by the copyright holder.

No AI was used in the making of his Review.
©30.07.2026