Following quickly on the heels of the Ocean Machine – Biomech album of 1997, Infinity is the first album which was originally released by Devin Townsend as a solo project under his own name. As remarkable as the Ocean Machine project was, it is really on this first ‘proper’ solo project that Devin’s twisted genius for epic, progressive metal bears full fruit. Sure, we can all agree that Strapping Young Lad knew how to bring it in terms of utterly intense prog-tinged metal, but SYL always tilted towards the more aggressive and industrial side of things; it’s the solo Townsend, I think, which displays a much wider textural range and more varied songwriting. Lest I deserve a swift bout of pummeling, I should hasten to add that Infinity features the monstrously-talented drumming of fellow Strapping Young Lad (har-har) Gene Hoglan, and thus has somewhat of a leg up on Ocean Machine from the start.
The album kicks off in fine form with “Truth,” a massively epic and overstuffed instrumental intro which, when it breaks the building tension at the end by jumping a fifth (I think) and holding that stringed synth tone over a cymbal roll, reminds me of nothing more than Yanni’s Live at the Acropolis. Yeah, that’s right – fuckin’ Yanni, and it kicks ass, so step off (like I’m the only one who ever watched PBS in the 90s…). The first proper song “Christeen” is quite a bit reminiscent of “Life” from the Ocean Machine album, in that it is one hundred percent a classically-structured pop song. Both tracks also run perilously close to the cheesy (especially “Christeen”s Phantom of the Opera-quoting chorus), but “Christeen” redeems itself somewhat with that nice intense bridge and lead-in to the final go-around of the chorus.
Though the tendency was already somewhat evident in the Ocean Machine album, I find that it’s on Infinity where I really start to pick up on the duality of Devin’s musical personality. On the one hand, the dude knows how to craft well-constructed songs – the old verse-chorus-verse-chorus-bridge-etc-etc shtick – not all of which suffer from the overly pop-leaning sounds of the above-mentioned tracks. On the other hand, he has a real knack for breaking up an album into more straightforward tracks and more experimental tracks – and moreover, that experimentation can just as easily take the form of ambient, gradually-building, and almost modal hymns (Devin Townsend’s Kind of Blue period, we could call it) as it can take the form of smashing as many disparate musical styles, instruments, and sounds into one rambunctious whole.
On the more straightforward tip, then, I’ve already mentioned “Christeen,” but “War” and “Soul-Driven Cadillac” fall somewhat into this camp as well. The intro to “War” goes on far too long for my taste, but both tracks stomp along in this groove of modal suspension and form a solid backbone for some of the more experimental material that peppers the rest of the album – particularly “Bad Devil,” “Ants,” and “Wild Colonial Boy.” I suspect that for many fans of Devin’s solo work, these extremely busy and chaotic songs are the primary draw, and I absolutely agree, except with the caveat that were it not for the counterpoint provided by some of the more straightforward (but no worse off for being so) songs, these insanely diverse tracks wouldn’t seem quite so batshit crazy. As it is, though, “Bad Devil” picks up the slack dropped by “Christeen” in a MAJOR FUCKING WAY, featuring some awfully punchy riffing (in contrast to the diffused tone of a lot of the riffing on the rest of this album and many of Devy’s others) and some wicked horror theme synths (think The Munsters or The Addams Family). Even better is when the track drops into a shuffling swing rhythm and highlights some jazz trombone and an almost rockabilly upright bass section. Killer stuff.
“Ants” is another balls-out wacky song, which can only really be described as sounding like Dream Theater and Behold…The Arctopus jamming on a cover of “Hava Nagila,” so feel free to take that for what you will. “Wild Colonial Boy” is another track somewhat in the model of “Bad Devil,” in that it oscillates between more straightforward metal components and distinctly non-metal genre sections. In particular, “Wild Colonial Boy” careens between a quite catchy polka section and some of the most earnest-sounding vocal melodies of the entire record. On this track, Devin’s vocals walk that absolutely perfect tightrope between soaring melodicism and winking melodrama, which will be one of the most winning features of his entire musical approach.
Regardless of what type of song he’s playing, part of the charm of Devy’s solo material is that, as is so often the case, these songs work so splendidly by manufacturing an overload – because Devin is an excellent producer, all of the individual layers of the sound remain distinguishable, but in most of these tracks, there is just so much going on that eventually the listener says, more or less, “Fuck it,” and decides to surrender to the waves upon waves of gorgeous noise. The real trick, and one of the least replicable aspects of Townsend’s genius, is that this overload doesn’t feel confrontational (as in most actual noise music – Skullflower, I’m looking at you, you crazy fuck), but rather warm and inviting, like wandering into a thick forest in the middle of a thunderstorm – sure, you get a bit wet, but there’s shelter in there, and a real feeling of almost existential density.
For my money, the album peaks exactly where it should, with the final two tracks. “Life is All Dynamics” is absolutely one of the best songs on here, and features some of Devin’s most heart-rendingly intense vocals. I mean, seriously: Put on this song just about as loudly as you can handle, and I fucking dare you to not find yourself stomping around your house like a goddamned flesh-hungry velociraptor (or even a stegosaurus on a serious trip of plant withdrawal) in time to Devin’s hollering “LIFE! IS! ALL! DY-! -NAMICS!!!” Science will soon prove it impossible. The transition into the closing track, “Unity,” is also extremely classy; given the tension-building suspended outro of the preceding track (remember? You’ve just stopped thrashing [your dinosaur tail around] like a maniac [Jurassic Metallica – shit, I’ve just invented a crossover children’s cartoon & heavy metal hit]), the rich and mellow tones of this song are a perfect come-down. Plus, I think there’s a nice bit of commentary done by book-ending the album with tracks called “Infinity” and “Unity,” which seems to be reflective of the type of worldview Devin often represents in his solo works (though here I’m especially thinking of “Triumph” from Synchestra, which, in the interest of full disclosure, is probably the best song that has ever been written).
The bonus tracks on the version of Infinity that I own, I don’t know, I could pretty much take them or leave them. The track “Noisy Pink Bubbles” (which may or may not be Devin’s tribute to Helloween’s Pink Bubbles Go Ape – I prefer to think not…) is especially odd, with some child chorus vocals sounding straight out of Annie or some such musical, and clean electric guitar strumming over an almost “Lust for Life” drumbeat. Also included are live acoustic versions of “Sister” and “Hide Nowhere” from the Ocean Machine album, which are nice for a change of pace, but although the latter especially features some nice vocals from a very closely-mic’ed Devin, it also drags a bit as an all-acoustic number. There’s also an early band demo of a track called “Man” on here, which sounds, well, like a demo – decent enough, but kind of like an unfinished thought. These bonus tracks, then, are mostly interesting curios for the true Townsend fanatic (which, truth be told, is me), but although this album thrives based on its disparate moods and sounds, I really think it is perfectly capped by “Unity,” so I typically end it there.
In comparing Infinity to Ocean Machine – Biomech, it seems pretty clear that Infinity explores a much broader range of sounds and moods, and does so in a much shorter running time. Which one you prefer may just depend on what you’re looking for, although I find that Infinity edges out Ocean Machine by a non-trivial margin, and undoubtedly established Devin Townsend as one of metal’s most outstanding and relentlessly creative musicians.
Overall rating: 94%. I STILL haven’t stopped crashing around my house to “Life is All Dynamics.” Devin Townsend: Metal Genius Extraordinaire & Inducer of Perpetual Motion. Take that, physics.