Phideaux Xavier (born Scott Riggs; January 14, 1963)[1] is an American television director, and composer of modern technological music that he describes as 'psychedelic progressive gothic rock', who grew up near New York City but now lives in Los Angeles.
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.
After graduating from college, Phideaux decided to return to the collaborative aspect of music and formed an acoustic-themed band called The SunMachine with childhood friend Ariel Farber (violin/vocals) and various other musicians.
They played a mostly acoustic progressive rock style music with flutes, violin, keyboards, percussion, 12-string guitar, and electric bass.
This album, despite lacking worldwide distribution, was met with a lukewarm response from audiences and it has since been deleted, remanded to status of "ambitious demo".
After a few aborted SunMachine recording sessions, the band ended in 1994 when Phideaux met former Live Skull drummer Rich Hutchins.
In the producer chair was Mark Kramer, known to Phideaux for his work with Bongwater, Brainville (with Daevid Allen, Pip Pyle and Hugh Hopper) and the Danielson Family.
The longest track, "Soundblast", took its lyrics from a leaflet dropped over Japan shortly after the detonation of the Little Boy atomic bomb at Hiroshima.
In August 2005, while putting the finishing touches on 313, Phideaux and mates returned to the studio to record the first two parts of a projected "Trilogy" of albums telling of a near-future dystopia.
Phideaux has announced that he would like to release Seven and ½, remaster Doomsday Afternoon and create a live performance DVD before working on Infernal, the finale of his trilogy.