As part two of the Monomyyth Trilogy, which began with the breathtaking beauty of Astronomica, you would expect there to be some similarities between the two albums. And indeed there are. But there is also plenty which makes this album able to stand alone from its predecessor. As the opening track, Kabuki of the Starred Deep, immediately proclaims through its broken and chiming, oriental vibes, it’s staccato collisions of sound and its bleak beauty, The Infinity Line is a whole new journey to be embarked on.
If Astronomica was built through drift and haze, The Infinity Line explores more beat-driven sounds and brooding tones alongside its more ambient charms. Songs like Midnight Overture add pulsing beats and distant echoes to the soft surge of synths, building edge and urgency and Anaira would feel at home on the original Blade Runner soundtrack, a strange blend of nostalgic memories and a quest for the sound to come, the perfect Future Noir composition.
The title track captures the same urgency through the rhythm and rattle of marimbas, adding a touch of the dark continent and a beguiling Afro-beat feel to proceedings, To The Touch is an understated series of twinkling synth notes and the final track, Rutger’s Passage again tipping a hat to Vangelis’ iconic score through both title and tone.
As the second part of a planned trilogy, The Infinity Line does everything that you expect it to. It continues the story begun on the first album yet opens up its creative narrative to add new dimensions, offer new directions and explore new depths to the sonic saga. In doing so it makes us crave the final instalment with even more eagerness.