Cleveland’s Infinite Number of Sounds improves on its conceptual electronic post-rock by adding… now hear this… ROCK to its repertoire in a way that most folks agree was distinctly lacking in their debut Time Wants a Skeleton.
Known for their multimedia performances, it’s got to be a bit of a task to create an album of purely enjoyable sonic matter; but as “Radio Whales” kicks off, the accessibility—magnetism even—is clearly present. This does beg the question: Why would a band known for its multimedia performances not put out a multimedia release in this digital age? Let’s get with the 90’s, INS!
Definitely in the eclectic range, this is like a fiercer Tristeza, especially in the fact that it is nearly all instrumental and what voices you do hear are mostly sampleage. “The Kindest Cut” is one exception, in which an apocalyptic Burroughs-esque tale is spoken (in a much more pleasant voice than Burroughs’). Throughout the album, the digital background noise and fuzz are rather out there, but in a way that is intriguing and holds one’s interest. Think Add N to (X) with Trans Am aspirations.
As the tracks wear on, this can be a little tedious at times. “Dúidire”, for instance, is dominated by the most offensive of all instruments, a didgeri-frigging-doo. [Didgeri-don’t, didgeri-dork!] But in all fairness, what album is stinker free? The exceptional numbers certainly out number those that grate or go altogether unnoted. Check out the title track, as well as “Washington Monument” for a taste of what these guys are capable of.