Very often, such big and ornate music has complex themes running through the songs, intricate messages to match the equally intricate sounds. But Infinity Fall III has a simpler message at its heart and one certainly more pertinent to our times. Even when confronted with obvious truths, it asks: why do we still cling to comforting lies? A powerful question in this post-truth age.
Three songs exploring such themes, from the personal to the universal, each weaving together different, often seemingly contradictory forms of music to find its unique sound.
“Uneasy” opens with symphonic tones, delicate piano, and soaring, operatic vocals, gradually subsumed by gnashing, gnarly guitars guided by electronic beats, a place where analog meets digital, where classical meets futuristic, where past sounds are born anew.
And if “Boring” starts in a similar place, it is content to remain in such dulcet sonic lowlands, at least for the first two-thirds of its journey, when it is then infected and infused with metal mayhem, before tempering those forces and turning them to its will; the result is sonics that have indeed soothed the savage heart.
The title track rounds things off, a complex blend of almost free jazz arrays of piano dancing deftly with proggy complexity, changes of pace and intricate beat patterns, a mix of so many opposite forces, but as we all know, opposites attract and damn this is attractive…addictive even.
Like much music made in the heavier realms, Infinity Fall III tips into almost classical attitudes, the songs mini-symphonies with short but defined movements, the scope and scale of the sonic ambition working in ways that Richard Wagner would have found comforting.
Three great tracks, challenging perhaps but ultimately rewarding, as all great music should be.
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