Phideaux
| Phideaux Xavier | |
|---|---|
| Also known as | Phideaux |
| Origin | Hastings-on-Hudson |
| Genres | Progressive rock, psychedelic rock |
| Occupation(s) | Musician, Singer, Guitarist, Composer |
| Instruments | Guitar, Piano, Vocals |
| Years active | 1990-Present |
| Labels | Blood Fish Media |
| Website | Blood Fish.com |
Phideaux Xavier is an American TV director, and composer of modern technological music that he describes as "psychedelic progressive gothic rock", who grew up in New York City but now lives in Los Angeles.
Xavier was born in 14/01/1963 and raised outside of New York City in Hastings-on-Hudson, one of three children. He started composing music in high school and performed in several bands: Sally Dick & Jane, Neck Tie Party, The SunMachine, and Satyricon.
He released a number of recordings on cassettes for his friends, and then in 1992, produced a small number of copies of a CD entitled "Friction". Although it was not widely distributed, a few music reviewers were able to hear it.
Later, in 2002, Xavier started seriously mastering musical tracks. In 2003 he released his first CD with significant distribution, Fiendish. The year 2004 saw his second album Ghost Story, which was followed up quickly in 2005 by a third album, Chupacabras, and then a fourth album, 313, in March 2006. His fifth and sixth albums, The Great Leap and Doomsday Afternoon (2007) are the first two albums of a planned trilogy. In 2009, he issued his seventh album, Number Seven. He had begun working on a related album called Seven and a 1/2, but this sequel was cancelled in favour of an all-new album entitled Snowtorch, set for release in late 2010. However, the release date of this album was postponed until March 21, 2011.
Xavier first played with Molly Ruttan (drums) and Linda Ruttan-Moldawsky (bass) in a progressive rock band called Mirkwood, which later morphed into a punk/pop band called Sally Dick & Jane when they added vocalist/keyboardist Valerie Greicius. They played at various legendary NYC clubs, including Max's Kansas City and CBGB, during the early to mid 1980s, but failed to record anything of substance and were marginal to the scene.
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