Infinity Forms Of Yellow Remember - Infinity Forms Of Yellow Remember - Albums - Reviews - Soundblab

Infinity Forms Of Yellow Remember - Infinity Forms Of Yellow Remember

by Sean Hewson Rating:8 Release Date:2019-09-06
Infinity Forms Of Yellow Remember - Infinity Forms Of Yellow Remember
Infinity Forms Of Yellow Remember - Infinity Forms Of Yellow Remember

Out on Cardinal Fuzz and promising ‘Volume, Repetition and Wah Pedals’, Infinity Forms Of Yellow Remember’s self-titled debut has literally everything going for it.

After that promise of a good sonic battering Strange Flotsam On The Rising Tide is mainly acoustic and harmonica. But it’s really just an intro and a psychedelic storm does gather over the course of the track. Then the true filth starts on Sub-Sonic Dreamer. Instant wah-wah frenzy. There are sung verses with a fairly solid tune and then insanity in between, hitting a pleasant mid-point between Hawkwind and The Stooges. After three minutes there is a period of calm with vocal harmonies. This goes on for several minutes but all the time the band are building it up and up until it erupts like Mudhoney on In ‘n’ Out Of Grace. Surely They Knew starts with pulse and drums followed by vocals and then a Garage racket. Again, there is a tune here as well, it’s not just stoners jamming in a shed. Or it is, but with a song. Most of it is just one chord though, like a furious Stereolab. The ‘California death trip in my bones’ Beach Boys ending is a nice little bonus. The 17 minute long Great Vibrating Season is next. It starts out all Kosmische, as you’d expect with a track that long but it’s still gnarly as hell. It settles into a proper song after about 4 minutes. This track is a bit lighter than the previous two, somewhere in between Hawkwind and Pink Floyd and something about the tune or the vocals reminds me of Oasis. Given that the band are from Cardiff, Super Furry Animals would be the obvious comparison but the IFOYR vocals are a little rougher. Half-way through there is a spacey interlude with swirling synths and strong drumming. After a bass solo (yes, a bass solo – but not a wanky one), the fuzz begins to gather again. And they hit an easy groove with guitars howling all around before switching to guitar and organ – it’s like they can’t bring themselves to leave the song. Then it’s straight into another epic, Walk With The King. Synth, harmonies and then a bass riff. Then more harmonies. One of the things that IFOYR have over similar bands is an appreciation of vocals, they’re not just an afterthought. But this is all quickly obliterated by some very overdriven guitars which set up the main song. The song ends up in an insanely loud sonic white-out that climbs and climbs and climbs. From The One Comes The Many is much shorter and is mainly synth drones and noise wobbling away. It’s a great sound but also serves as a palate cleanser before the final vast undertaking, Sun God Grave Goods. This epic starts out with Indian drones and harmonica. The drums come in, followed by the vocal harmonies. It’s a strange sound, like Crosby, Stills, Nash and Young guesting on a Hawkwind record. The sound is actually pretty huge and then it’s joined by layers of fuzz. This increases and increases until they throw an acoustic section in, it’s like something that Faust would do at their most wilful. And that’s how it finishes.

Luke, Gaz, Grant, Ropey, Tim and Owen have created a fascinating album here. It’s mainly due to their range. Essentially, a noisy psych/noise outfit, they can actually turn their hands to harmonies, ambient synth sections, acoustic sections and some pretty solid vocal tunes. This keeps the album moving, you have great slabs of wah-wah and repetition but they can suddenly slip a Prog section or a Beach Boys section in. The one slight negative that I’d add is that sometimes I get the feeling that they don’t quite know how to leave a track. But it’s a minor point on what is a raging and pleasantly odd album.

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