SNOWTORCH

In my opinion, the title track of Chupacabras was a transformative work, arguably the best 20 minutes of progressive rock in decades. Doomsday Afternoon solidified PX as the most creative force out there at this point in time. Number Seven was two-thirds of the way to being an even greater work than Doomsday, the final suite just falling off slightly. I find that for several years now, I have been recommending Phideaux to friends more that any other artists. First among all.

I regret that Snowtorch does not advance the accomplishments of Phideaux.

Technically, the work is superb. The score is well written with complexity and variation, the musicians perform with enthusiasm and preciscion, the vocals soar. (I do take exception with those who complain of the male vocals, but recognize that Val's voice is sublime and all others fail in comparison.) The work as a whole continues the apocalyptic vision that we have come to expect from PX, with just the barest ray of hope for the future and perhaps a wink. Snowtorch is in fact patented Phideaux.

But as a work, Snowtorch does not move forward. It breaks no ground. It is "Number Seven.Five". Good. Well crafted. Excellant. Nothing new. More of the same, same that I like, but still same. Patented Phideaux.

I play it. I enjoy it. But Snowtorch does not come close to being the best work of PX, and I continue to recommend his other works to friends before this. Because Snowtorch is after all patented Phideaux, I must give it the four stars it deserves. But I reserve that fifth star for his next transformative work, which I am confident will come and for which I anxiously await.