Austinist Capsule Reviews: Coma In Algiers, Infinite Partials
This quintet of old-school Austin reprobates have been churning out grungy skronk for three years now. Given the trashy, just-on-the-cusp-of-disintegrating volatility of their recorded output, they deserve credit just for staying together for as long as they have, but like any quality band these boys have some good chemistry and a great name, and they apparently love to drink. They're kind of like a good bowling team that way. Continuing with this god-awful metaphor, the dissonant guitar dueling of opener "Johnny Come Home" sets up a set of scarred, malformed pins that the bludgeoning two-chord "single" "Summertime" later knocks down with a clattering skree. Stee-rike!
Given Infinite Partials' math-y name and the album's chilly artwork and vaguely menacing song titles ("Almost Gone," "What They Want"), we half-expected this to be an exercise in chilly electro-glitch-ambient-whatever. Come to find out, End Of Begin is in fact an exercise in world-beat cafe folk, courtesy of singer-guitarist Grant Hudson and producer-engineer Stephen Orsak. Primarily recorded at the First Baptist Church of Austin, the album is a little long on new age sentiments but includes some evocative arrangements for mandolin, cello, and harp, and excellent musicianship from a half-dozen session players. End Of Begin also features excellent artwork by E.E. O'Brien reminiscent of Stanley Donwood's work for OK Computer.
