3. Robots vs. The Wooden Chairs Pt.1
4. Robots vs. The Wooden Chairs Pt.2
5. The Possibilities Are Endless
Infinitee is an instrumental progressive metal solo act that has the potential to be huge. It was formed in 2016 by Tres Thomas, a man who is also the guitarist of Tales Of The Tomb. He comments that the one man project’s debut, named ‘The Possibilities Are Endless’ ‘will definitely be different’. He continues ‘Tracks like ‘Xenocybin’, ‘Lost’ and the title track are more metal and conventional with their instrumentation. Tracks like ‘Robots Vs The Wooden Chairs Part 1 and 2 are more influenced by EDM, which has sparked the interest of people who aren’t really a fan of metal or djent, but appreciate the more electronic elements of music.’
Thomas is quite right when he says his music is different, at least when compared to traditional proggers such as Dream Theater. That band does use some pretty low tunings, but they are taken much further with Infinitee. Very modern. Whilst they may be a little too much for some, at least the act has pushed the boundaries and not copied the bands of the past. The music here is a breath of fresh air. It’s not totally unique, as 8 string guitars have been popular for a good few years now, but the merging of spacey keyboards with several subgenres of metal is rather distinctive. Thrash metal (made more extreme), industrial, death metal and groove metal are always around the corner.
Whilst not as bafflingly unpredictable as Meshuggah, that band has certainly influenced Thomas. Ultra filthy guitar tones that are as heavy as lead feature in both Infinitee and the extreme metal supergroup. Again similarly, guitar solos aren’t used to show off, but instead add atmosphere and well placed variety. Having said that, it is clear the guitarist is highly skilled. In terms of rhythm, the solo artist is more in Animals As Leaders style; adventurous, but not crazy. For better or worse, take away the relentless shredding of AAL, (again for better or worse), make the harmony a little less weird, make the song structures a little more complicated and you’ll get Infinitee.
The Algorithm also have had an affect on Thomas, though that band is often more electronic than the one man creation. In the latter, keyboards are sometimes more used to add to the textures, rather than them being one of the defining features. When they do stand out more, the parts aren’t too interesting, but instead are highly scalic and predictable. Electric drums are also sometimes used, but as they seem to appear a little randomly and go away just as quickly, their usage may seem a little out of place and not so well thought out to some. The fact that the music is always instrumental is interesting, though there does seem to be something missing in the overall sound. At times, the material can sound somewhat like a backing that needs either vocals or some kind of instrumental melody.
In conclusion, ’TPAE’ is a great example of the new generation of prog. Single note djent ideas aren’t overused as they often are in lesser bands, and the whole album is like one epic, futuristic story. It can feel a little empty in places, but that trait could be thought of as part of the music’s often cold and hard intrigue. This album is highly recommended for all sorts of fans; people who have been listening to the likes of Yes or Opeth for years and want a change, and youngsters who like a good old mosh. This is definitely worth adding to any prog, if not any metal collection.
Review by Simon Wiedemann