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Best Band ; Infinite Forget about Eric Quillington's recent departure. Forget about the fights between the drummer and the singer. Forget about the classic 'frontman-being-more-important-and-recognizable-than-band' syndrome that has befallen on so many groups before them. If there's one thing Infinite should (and possibly will) always be remembered for, it's the music. After all, you don't get to this level of recognition and stardom without creating a few classic tunes. Infinite have written the next 'Yellow' or 'One' in the form of 'Shades of Grey', a rare anthem that manages to blend despair and loss without ever seeming sappy or lovelorn. 'End and Begin' is the closest the band has ever gotten to a full-on rave, the result of which can lead to devastating crowd dancing (and even moshing, oddly enough) during live performances. And 'Salt' proved once and for all that Matt Roberts is more than just the 'useless' member of Infinite. What's most incredible about this is that these essential moments are from one album; the others all have their own, innumerable, key points. But all this started with a few strums on the guitar. Who can forget the first time they heard the riff of Fusion Paranoia, or the solo breakdown at the end of Supernova? And yet that was only the beginning. From those tentative first steps, Infinite has quickly grown into a band that defies genre-labels. Eric Quillington, Matt Roberts, and Greg Oldson have never hidden the fact that they longed to be superstars, and hungrily set out to achieve that lofty goal through sheer musical ambition. The subdued blend of grunge and acoustics on Blue Nebula gave way to the radiantly optimistic and experimental dreamscapes of Midnight Skies, which then turned into a schizophrenic nightmare on Insomnia, before finally waking up to a cold dawn on the raw and emotionally exposed Dancing about Architecture. Infinite has never made taken the same step twice, giving them the 'album band' status that falls on such groups as Radiohead and Pink Floyd. As momentous as the individual moments and songs may be, they are nothing in comparison to the greater picture. The same can be said about the internal make-up of the band itself; while songwriter/singer/guitarist Eric Quillington might always be the 'face' of Infinite, even after the announcement of his departure following the recording of the band's fifth album, he would be rendered obsolete without one of the most criminally under-appreciated rhythm sections in all of rock culture. For Greg and Matt are more than just a back-up band to Quillington; they make up two-thirds of Infinite's collective voice. In Greg Oldson are the musical skills responsible for the melodies of such tunes as 'Problems with Pluto' and 'Faust', while Matt Roberts (the Ringo Starr of the group) is foundation giving much needed down-to-earth levity to his bandmates' lofty ideas. Infinite will always be regarded as a 'band of differences'. But it's not a weakness; it's their greatest strength. Rather than truly blending together, the band's three unique voices and musical tastes result in a consistently expanding range of genres. If Eric wasn't so against Greg and Matt's urges for him to indulge in guitar solos, than we wouldn't have the searing, reluctant, and aggressive instrumentals on Dancing about Architecture. If Greg and Matt weren't pushed to the side during the praise bestowed upon Eric, than we wouldn't have moments such as 'Faust' and 'Ciel', which show Greg desperately trying (and succeeding) to prove his worth. Moments of true unity between Greg and Eric are incredibly rare, but the animosity between them gives some of Infinite's harder-hitting tunes a feeling of very real tension. Because of this, Infinite manages to seem both real and vulnerable whilst retaining their position as one of the most famous bands in the world. It's these types of contrasts, of unity and division, of fame and dysfunction, that makes Infinite a truly special and unique band. Best Album ; Dancing about Architecture[Click for link to MonotonousConsistency.com]Best Single ; Lamenting Rinascita
Genre; Psychedelic, Experimental
Length; 6:24
Label; Chaos Records
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Background
Infinite has never been a 'singles band', instead focusing all their efforts on LPs. Even their most iconic singles (such as 'Problems with Pluto' and 'Supernova') were released as mere afterthoughts, and had more to do with their record company than the band. Times change, however; with a new member joining the band, it was agreed upon that a single, rather than an entire album, would be the best way to introduce Amelia Florentine and her musical styles to the world. Inspired by the Beatles (a band who's influence is also apparent on the music of the single), Infinite decided that the single would not be taken from an album, and would instead be a standalone release.
A considerable amount of time has passed between the writing of the last single, and this one. 'Vague Similarities' was developed at a time when the band's primary lyricist, Eric Quillington, was still a rather shy frontman, one suspicious of the celebrity lifestyle he found himself immersed in. The soft spoken individual has long since shifted into something far more eccentric, so it would make sense that the music would undergo a similar evolution. While the music on Infinite's upcoming album Dancing about Architecture (one that will have no singles released from it, as it is meant to be viewed as a cohesive whole) remains the band's characteristic darkness, Quillington and Co. became interested in releasing a single of much more joyful melodies. The band had begun listening to the melodic tunes of such bands as U2 and Coldplay, and wanted to introduce these new influences into their music. Whether or not this new type of music will be adopted on future Infinite albums is anyone's guess.
Surprisingly for a band that has become so infamous for taking it's time with recording, 'Lamenting Rinascita' and it's B-Side were recorded in a period of just two weeks. This rapid change of pace has been attributed by Greg Oldson as being; 'Amelia kicking Matt, Eric, and I off the sofa any time we'd take a break from playing.' Instead of spending time developing concepts for the single's theme, they stumbled immediately on something Quillington had been messing around with. The final verse to the song was initially written by Eric to be on his developing solo album, but couldn't find a proper place for it. In the end, he agreed with the rest of the band that it would be better suited as a jumping-off point for the song-in-progress.
Melodic Composition
Infinite's ninth single opens with a guitar riff/solo by Eric Quillington. Although he had previously utilized a very subdued and simplistic way of playing the instrument, playing mostly chords and a few simple riffs, this song sees him playing in an entirely different way. The colorful, exuberant melody, played only on guitar, showcases a joyful side to Quillington most were unaware of. After a minute of this, Infinite's rhythm section joins in. Greg Oldson's drum beats, the first of several nods to the Beatles, are very hypnotic and drone-like. This, however, proves to be the only constant characteristic of the song; the sitar-like guitar riff fades away as a keyboard melody played by Amelia Florentine takes hold.
The verses, featuring only piano and vocals, seems very Coldplay-esque and balladic, something new for the band. During the chorus (the first in an Infinite tune for quite some time), the rhythm section returns, as does Quillington's Indian-influenced guitar playing. It's also during this section that Amelia Florentine makes her debut on vocals. She doesn't take center-stage, as many perhaps expected, but instead serves as harmony to Quillington's very familiar singing. The two lines manage to be both intimate and anthemic, and it's very easy to imagine a crowd of 100,000 singing along during future concerts. The universal meaning behind these words seem closer to bands like U2 than Infinite, but seems genuine nonetheless. At the end of the second refrain, Amelia's influence on the song shifts away, as the original trio become dominant once again. For the last minute and a half, Quillington's soft falsetto cries serve as the climax to the song without ever becoming over-the-top or self-indulgent. The guitar riff from the beginning also returns, bringing the song full circle. Everything slowly fades out as a conclusion is reached, while the already unusual-sounding guitar is played in reverse, serving as another homage to the greatest band in history.
Lyrics
"When we look back and laugh at the past, we can draw out our map towards future conquests
And we’ll bask in the glow of victory
When we run out of goals to fulfill, we can dig up the ground beneath our feet
And plant a wall to hide our possessions from the thieves
When we get tired of running, we can pick up the rocks with our hands
And we’ll build a sturdy home for two
As we shine, as we burn
As we radiate, the possibilities remain infinite for one lone moment
When there’s nothing in the future, we can dig up the memories of our past
And we’ll bask in the glow of nostalgia
When there’s nothing left to hide, we can dig up the ground beneath our feet
And we’ll hide the fragments of the walls between us
When there’s nowhere left to run, we can pick out the splitters in our hands
And I’ll build a wooden home for one
As we shine, as we burn
As we radiate, the possibilities remain infinite for one lone moment"
Personnel
Eric Quillington; Lead Vocalist, Guitarist, Lyricist, Producer
Amelia Florentine; Keyboards, Backup Vocalist
Matt Roberts; Bassist
Greg Oldson; Percussion
Best Live Artist ; Infinite
Wembley, Field Day Festival, etc. I'll find the links to a couple of these if anybody wants me to elaborate. But, as Laurelles said; the search function on this website sucks, so that'd be a bit of a pain for me.
Best Couple ; Eric Quillington and Glamazon
In an era where most celebrity relationships end in a fight on Twitter, it's refreshing to see a couple with this much longevity. And, discounting the argument between the two last week, where Eric was justifiably referred to as being 'fucking retarded', the two don't even have a single fight to their names. Which, of course, makes sense; when two of the most eccentric personalities in music culture join forces, do you really think petty little squabbles are going to factor into their relationship? Fuck no. Those are the problems of mere mortals.
The Miss Vanity Icon Award and Cassie Summers Award for Personality ; Eric Quillington
“Ladies and Gentlemen, it is I, your lord and master; Eric Quillington. The Quixotic, the Chosen One, the last son of Krypton...."
Perhaps more than most, Eric Quillington's successes and failures have come to define him. As a world-renowned musician, he is often viewed by his fans in the same positive light as icons such as Troy Mascenon and Ryan Ross Hernandez. As the eccentric (not to mention drunk) lunatic at the Big Brother House, he is viewed by his critics as the quintessential example of a rock-star falling from grace through drug scandals and thoughtless public comments. But, unlike many other musicians that find themselves in similar positions of fame and notoriety, Eric has never hidden behind any walls, be it of music or mystique. Like all of us, there is a delicate blend of light and darkness inside of him, and Eric has never been afraid to expose both sides without hesitation. While it was initially applauded, as it has given Eric a platform to express himself openly and honestly during interviews, this 'warts-and-all' way of living has, eventually, led to a fair share of controversies. As the quiet, enigmatic man who made Midnight Skies gave way to a far more erratic personality, many began wondering if fame and fortune had gone to his head. Many of his public speeches at the time certainly didn't help matters. In many ways, Eric could be viewed as the antithesis of Ryan Ross Hernandez; while the latter is calm and collected when confronted by the face of celebrity, never losing his 'coolness' during public scandals, the (former) frontman of Infinite is frenzied and nearly always socially awkward, acting out of pure impulse because he simply doesn't know any better.
But the key phrase here is 'doesn't know any better'. For, while it may make it seem flawed and almost inhuman, Eric's total lack of social and life skills have also given him some of his most endearing qualities. Arnold Toynbee once referred to America as a "big friendly dog in a small room, knocking things over with every wag of it's tail". This lone sentence is, in a sense, a perfect description of Eric Quillington. Despite the drug controversies, despite the arrogant outbursts, he is simply a well-meaning individual who doesn't know the full ramifications of his actions. Take, for example, the recent Twitter argument with his girlfriend Glamazon over his neglect in telling her about his (possibly fatal) diagnosis of Huntington's. His response, although lacking in logic, neatly summed up who he is in seven words; "I didn't want to ruin your happiness". Life is, quite simply, a mystery to Eric Quillington. And while it may make for an awful friend (like when he carelessly interrupted Katie Coyle's that she was carrying Jason Smith's child in order to express his boredom at the house's lack of interesting developments), it makes him a fascinating character to watch.
Quote:There are several groans in the audience as Eric steps up to present another award. An interesting duality seems to exist regarding the nature of people’s perception towards Infinite’s frontman; as a musician, he is one of the most beloved people in Europe. As an awards presenter…
“Hello again! I hope we’re all having a good time! So, this is the final award of the evening; the Icon Award! It’s rather sad, though; they told me that I'd be presenting awards that I have no chance of winning. Guess I’m not an Icon, huh?”
Once again, Eric laughs, hoping for a decent response. There is laughter this time, however, but in an incredibly sarcastic manner from Matt Roberts.
“Okay, so, yeah… my jokes don’t work. But, y’know what? Neither did Mr. Roberts’ condom.”
Not a word is uttered at Albert Hall, as everyone is staring at Eric with shocked expressions. Taking the silence as a form of victory, he merely smiles and continues his speech. Edited by user 29 October 2011 03:14:10(UTC)
| Reason: Not specified |
Kid Anything- Indie/Britpop/Shoegaze; influenced by Sigur Ros, XXYYXX, Kanye West, Blur, Oasis (Bringing together an eclectic group of influences, Ulysses' songs are sung with carefree abandon by Nick Junk) Kurt Ulysses - Songwriter, Guitarist, Backup Vocalist Nick Junk - Vocals, Mojo Infinite- Alternative/Experimental Rock; influenced by Muse, Radiohead, and The Beatles (Known best for their experimental music and their frontman's eccentric behavior, the band disbanded after Eric Quillington's death to pursue solo careers or, in Matt Robert's case, peace of mind. Infinite released four albums over the course of their career; Blue Nebula, Midnight Skies, Insomnia, and Dancing about Architecture.) Eric Quillington (Deceased) - Lead Vocals, Lead Guitar, Piano, Primary Lyricist Matt Roberts - Bass Greg Oldson - Drums, Backup Vocals, Secondary Lyricist Amelia Florentine - Keyboards, Piano, Lyricist, Backup Vocals "When asked 'how do you write?' I invariably answer, 'one word at a time', and this answer is invariably dismissed. But that's all it is. It sounds too simple to be true, but consider the Great Wall of China, if you will: one stone at a time, man. That's all. One stone at a time. But I've read you can see that motherfucker from space without a telescope." - Stephen King |
