Doomsday Afternoon by Phideaux

fantasticradiobase wrote on January 17, 2008

"Doomsday Afternoon" is excellent in composition and orchestration. It is thorough and balanced throughout the length of the album. At times it's only piano accompanying the voice, at other times it's the band with the orchestra. The choice of instruments is very careful and fits into the sound. Often the play is so subtle, you'll have to strain yourself only to discover the instrument has been there all along. Not because you can't hear it. Actually, you can't - but not literally. Only later, on subsequent listening, will you go "A-ha! I can hear a cello there in the back!" If you think orchestration can only yield a symphonic album, you'll have to hear this one to change your mind - here orchestra is used to fill the gaps and create a lush and full sound. Alongside naturally flowing melodies, an important component of the band's music is Phideaux's voice. It's not that it is impossible to imagine someone else singing. In fact, there are others who sing in the band: Ariel Farber, Molly Ruttan and Linda Ruttan-Moldawsky add female vocals, with some others backing from time to time. It's the warm, light and quite high singing style that draws attention, especially in combination with acoustic guitars. It simply fits exceptionally well with the music. There is a notable difference in comparison with "The Great Leap." The previous album can be described as an album consisting of small stars, every song having a sharp edge, shining all by itself. This one is not like that. It is something that let me down a bit at first. When you listen to the album at first, there's no bright shine that you notice immediately; it takes a while to appreciate. It is like an opening blossom, slowly presenting its beauty to the world. Only then each song starts to separate itself and stand out on its own. Then you notice the cool instrumentals, superb passages, great keyboards on "The Doctrine of Eternal Ice," the beauty of "Formaldehyde" or "Microdeath Softstar" in its full splendour. I'll say it right out - this album is solid. It's so solid that it's not even possible to breach it at first. Even a brick can be more easily penetrated. However, think of this album as of giant iceberg floating in warm waters - melting slowly, taking its time. After a while this album moves in, unpacks its bags and settles in your head to live. At least it's what happened to me. It's worth the effort to discover it. And as an endnote - good song titles, and what more - superb booklet paintings by Molly Ruttan.

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