Carving the Face of God with Infinite Body
Infinite Body Carve Out the Face of My God (2010, PPM)
Genre: Drone, Experimental
I first learned of Kyle Parker’s Infinite Body project last summer when I attended the Dan Deacon/ No Age/ Deerhunter show in Pittsburgh. As it turned out, the 10-15 minutes Infinite Body played were basically the only redeeming moments of the show. After dropping a quality LP last year, Infinite Body has quickly returned with a new album to kick off 2010 titled Carve Out the Face of My God.
Infinite Body’s sound is characterized by dense, looped-out and delayed drones that reach down from the heavens. The sound is loud enough to be intimidating, but it never crosses over into harshness. A strong sense of melody is prevalent in Parker’s noise washes– think less atonal drift and more blissful poems to a bright blue sky. Carve Out the Face of My God expands upon the ideas established in past works, placing longer drone pieces alongside smaller companions. While these shorter pieces are appreciated in a genre that is known for long-form compositions, the most interesting tracks are obviously the more expansive ones.
When Parker gives his songs more room to sprawl, he unfurls spiraling giants bathed in light. Songs such as “Drive Dreams Away” and “Out to Where I Am” swell to gargantuan proportions, almost becoming overwhelming in their towering stature. “Sunshine” is arguably the album’s lasting gem, with its spiking drone outbursts that sound more like ringing church bells than the combination of electronics Parker assembled to craft it. Most of Carve Out soars along gently, but this particular track exhibits a glorious rhythmic bounce. Or maybe it’s more like a stomp. Whatever the case, it’s beautiful.
This guy is one of the more interesting names in American drone right now. Carve Out the Face of My God is a beautiful album, one exhibiting Parker’s growing penchant for blurring the line between the accessibility of pop, and the unpredictable wonder of the avant garde.