INFINITY

As with all Townsend albums, the keyword is reverb. And lots of it, as usual. "Truth" is essentially a 4 minute long overture pronouncing that fact, but differentiating itself from "Biomech", little samples of distorted voices and other instrument samples, bell tones here and there, massive choral "aahs". It's more of a pompous spectacle than his first album, predictable really, since first solo efforts are usually best to be played on the safer side, considering DT was still with Stapping Young Lad by this point in time. Then "Christeen" kicks in and that heavy metal-pop star mix that Townsend is so good at comes through. Not bad at all, but not out of the ordinary.

Then we get to "Bad Devil", and a glimmer of Townsend's mad side suddenly shines through. Amazingly, the chorus is still catchy as all hell, but the demonic verses may catch you a bit off guard, not to mention the almost satanic swing groove in the middle. It's absolutely refreshing, but definitely messed up on a few levels, but hey, that's Devin for you.

"War" is another one of those reverb soundscapes that just gallops along for about 6 and a half minutes, and then "Soul Driven Cadillac" cuts the speed in half and continues the same song and dance before fading into a weird soundcsape of noise and samples. Going straight into "Ants", a bit more hectic, before jumping into what sound to me like reverbed interpretation of a Jewish dance tune, but with all the musicians and dancers all on crack. It's a complete 180, even from "Bad Devil", blindsiding listeners for a good 2 minutes before it all settles and that brilliant ballad "Wild Colonial Boy" serenades and waltz its way into your heart.

"Life Is All Dynamics" also sounds a bit like a ballad going into it, before it bursts out, as usual, in reverbed fashion, filled with screams, ear-deafening synths and glorious pomp and circumstance. (So, if we're taking Townsend literally here, by use of the transitive property, that means life = loud, which according to Townsend it is). Or is it? "Unity" then takes another complete 180 and focuses more on synth atmospheres than completely drowning you in reverb and noise. It's not a lyrical ballad a la "Wild Colonial Boy", it's more ethereal and sublime than that. And then, in another 180, "Noisy Pink Bubbles" attempts another serenade(?) of sorts with bell tones all around, but the drum track is much groovier, a bit busier than that. Also, it's not very noisy, as roughly 2 minutes the rest of the song delves into a deep jam with occasional quips from Townsend.

All in all, this is the start of the Devin Townsend we all know and love. The catchy, reverb-tastic songs from "Biomech" are still present, but it's also much livelier than "Biomech", and much, much weirder. But then again, that's the appeal to his music. He isn't like any other musician. This is his style, it's what he does, and frankly, it's one of his better efforts, despite the fact it was released in the 90's (barely, ['99], but it still counts).

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