Grayson Gilmour, Infinite Life! – Review
Grayson Gilmour comes from the exciting and densely-bubbling musical pot that is New Zealand’s quirky capital, Wellington. It’s been four years since we last heard from Gilmour, who, after the release of No Constellation in 2010, retreated to underground bank vaults and lofty attics to craft and lay down another record.
Infinite Life!, his impressive fifth offering, announces itself with a bold title. That exclamation mark reaches up like a small and hopeful hand in a swirling sea – and the record does begin somewhat like that, with opening melody “Isn’t This Exciting?” leading us to the water and “Lemon Brain” lapping at our toes, then sweeping over to pull us out with the tide.
The sound is lush and full, but still somewhat flighty in the graceful manner of a seabird. It’s a delicate balance of pop and darker undercurrents – the swooning, heavy step of “Tunnel Vision” is the perfect example of this clever blend. Perhaps what’s most striking about the album as a whole is its unabashed, experimental nature, which makes Gilmour’s talent and musical maturity readily apparent. It’s not surprising, then, that Infinite Life! has been supported by and released via independent stalwart Remote Control Records and the legendary Flying Nun, who have historically brought us a wave of great bands such as The Clean and The Chills.
Aside from being an intricate, well-woven piece of musical tapestry, Infinite Life! is also an artistic collaboration with a host of creative gems including NZ illustrator Henrietta Harris, who designed the cover, and Melbourne-based video director Jesse Taylor Smith, who created the grainy forest-adventure epic for the panic-stricken, apocalyptic track “Minus Times Infinity”.
Infinite Life! is a small trinket-chest of curiosities, and Gilmour is definitely a musician to keep tabs on. He’ll be playing a string of New Zealand dates to celebrate the record, which is available now digitally, or as an LP pre-order (get behind vinyl!) through Flying Nun Records.
Review by Chloe Mayne.
