Released: January 26th, 2010
Track listing:
1 - Dive (5:30)
2 - A Fool Persists (1:58)
3 - What They Wanted To Be Was Useless (3:59)
4 - Out To Where I Am (5:09)
5 - On Our Own To Fall Off (1:20)
6 - Beside Me In The Dawn (2:59)
7 - Sunshine (7:13)
8 - Lived On It's Knees (For Matt) (1:43)
9 - He Runs Without Feet and Holds Without Hands (1:30)
10 - Drive Dreams Away (6:58)
11 - Carve Out The Face Of My God (2:38)
Notes: "Music and rhythm are usually natural things to people. When a consistent beat is recognized, individuals may tap their feet, move in synchronous movements, or even attempt to perform along in some fashion. For the few who find these difficult, like the tone deaf or immobile, music is still usually an enjoyable process. So if those elements that make music “rhythmically oriented” were removed, what happens? From the time of Erik Satie, the idea of music as an element for a surrounding area (“wallpaper music,” “ambient music,” “drone,” and a slew of other names have all been applied here) seemed like a good idea. It took until the minimalism of La Monte Young to get to the pure drone age, such as his Compositions that were usually no more than perfect fifths held for long periods of time – elements that proved fateful for the Eno age of ambient. Enter Infinite Body, perhaps the closest thing to organic, local-grown produce as music can get. Each piece – not song, these are genuine compositions in my mind – relies on fuzzy, warm, massively enveloping drones that slowly add or remove pieces, evolving at a rate that never seems rushed. In fact, by the time the listener fatigues of a certain instrument or line, it is usually gone. Tracks like ‘Sunshine’ and ‘Lived On Its Knees’ add some more rhythmic ideas, but the use of organs and found sounds keep them firmly rooted in ambient music. Considering the simplicity of each composition, they are all obviously indebted to an organic process of creation. Much like fresh produce from a farm, Carve Out The Face Of My God just seems to be a little better, a little tastier, than other versions of distorted drone. Maybe it’s the clever harmonies of the keyboards, the subtle nods to Young and Terry Riley, or the extreme volume of the first half leveled out by the relatively quiet second half. Whatever it is, it’s all killer. I must be in Christmas hangover mode – I’m unusually generous with my ratings in recent history… Or maybe this album is just THAT good. Rating: 9/10"
-Matthew Olsmos The 405
No comments:
Post a Comment