Curious that this album was released three years ago and the band is just now getting to mailing it out. At any rate, this avant garde duo from Warrington, England has put out a CD that may appeal to listeners with little patience for experimental music. Having cut my teeth on various types of this music (composed and often improvised) for the better part of the mid to late 90’s, my tolerance for it has been stretched considerably. “We Love Infinty” can still diplomatically produce pleasure for the untrained ear and impress those of us in the know.

The first piece “Seduction” is somewhat light musiqu’ concrete with it’s emphasis on found sound, loops, and symphonic noise not too unlike the BEATLES “A Day in a Life” noise section that QUEENS OF THE STONE AGE stole for the middle of “No One Knows”. The whole thing drones on quite repetitiously, but in a good way. The next composition “Pig Giddy” is a different animal altogether with its Phillip Glass/Steve Reich minimal keyboard isms. Nice. We get what sounds like violins, violas and cellos weaving in and out harmonically as well. This track is very long at about 20 minutes and contains enough dynamics to keep the listener interested. At the end it takes a left turn into the darker side of say, DEAD CAN DANCE (sans vocals) or John Cage’s organ works. When the track ends you feel like the disc should and realize there are 5 more tracks!

“Cycle” starts out in a very similar manner with more noise that sounds like mother nature gone wild and dominant drum beats faintly suggested by the previous piece. Barely decipherable sampled speech is present throughout the proceedings as well. “In the Making” jettisons the entire program into APHEX TWIN/ SQUAREPUSHER-like spastic break beats accompanied by noise and vibes. Farfisa keys come in and out of the picture. The playing is so precise that it’s hard to imagine that any of it is not sequenced and/or quantized. Like I friggin’ care - it sounds great to these ears, MIDI or sans MIDI! The very short “Peter” is like ambient-era KRAFTWERK with much more emphasis on classical technique. “The Question” is as quirky as can be even as it galvanizes all the aforementioned elements intact. It does this and still sounds very different from the rest of the disc. It would not sound out of place on one of those old Ralph Records (RESIDENTS, TUXEDO MOON, SNAKEFINGER, FRED FRITH, etc.) compilation albums. Add a dash of CRAWLING WITH TARTS and were ready to rock (or not rock as the case may be). The song ends with a rather long loop of “I Beg Your Pardon” followed by a fart sound. “Concern For a Celebrity” has fewer seconds to it as “Pig Giddy” has minute-wise. A short loop and we are done. Lewis Gill and Neil Packer have put out their own disc that not only rivals, but also surpasses much of the experimental stuff that big independent labels throw money at. If Stallplant from Sweden is still cranking out product, it would behoove them to add these guys to their roster.

- Herring

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