Infinite, Battle of the Bands 5; First Heat

Intro

“Hi!” Eric Quillington happily says to the camera, with both hands in his pockets and a smile on his face. Behind him, Greg Oldson and Matt Roberts are seen tuning up their instruments. Taking place in Quillington’s basement, the room has a very messy feel to it; various guitars and records are strewn across the floor, and sheets of his lyrics are stapled to the wall. Aside from the unintentionally schizophrenic feel of the wall-writings, there is nothing too far out of the ordinary as the room has been made into a makeshift recording studio. Members of the filming crew are also setting up equipment for the upcoming mini-concert, but all try their best to stay out of the camera’s sight. The other two members of Infinite acknowledge the camera with a wave or a smile as Quillington continues talking;

“I’m from the rock band Infinite. We aren’t too special, but the three of us figured we’d put on a little show for you. Since we’re in that Battle thing and all. But, anyways, these three songs are off our most recent album, ‘Insomnia’. It was made with a very studio-focused mentality; we focused on the sounds, and weren’t too preoccupied with how to play it live. So, this might sound like shit, I don’t know. Regardless; Matt, Greg, and I all hope you’ll enjoy.”

Chaos Reigns

Clean guitar-strumming, played by Quillington, opens the song. Each time a chord is struck, it’s a little slower, and more enunciated. Chords begin to be played wrong, with fingers in the wrong positions, making the notes sound out of tune. Greg Oldson plucks a sustained note on his guitar, which becomes more distorted and gritty-sounding through the use of pedals. This claustrophobic atmosphere of Quillington’s out of tune chords and Oldson’s distorted single notes continues for a short while longer. Soon, Matt Roberts joins in with a short bass solo, signaling the true beginning of the song and it’s identity; an instrumental, one inspired by melodic metal. A drum-loop can be heard, as Greg Oldson has edged away from his percussion duties to join in with the stringed chaos. The three members all play in a circle, facing each other.

After several minutes of this, during which time the music becomes increasingly more distorted and aggressive, the three members stop playing. Their final notes are sustained, continuing the 'collage of noise' vibe. Amidst the noise and feedback, Quillington backs away from the other two and moves towards the microphone. While the album version of this song has spoken vocals, this live translation features a melody sung on top of those lyrics. The singing is caked with layers of distortion, giving off an almost inhuman and robotic feel.

“Welcome, one and all, to a town called Insomnia
Step on up, all deals are final
Skeptics pay nothing more than a shiny penny
For living in Insomnia is simple human cynicism”

Vague Similarities

A piano riff, played by Oldson, opens the song. Although it sounds almost mournful, there is a mood of peace in the atmosphere. However, a feeling of unease lying underneath. The feelings of peace seem sarcastic, almost forced. These ideas are cemented further once the lyrics are heard. Quillington sings the song with his eyes closed, as if lost in the words and melody. His arms are behind his back, in a way reminiscent of Liam Gallagher with better posture, and he remains immobile throughout the entirety of the performance. Singing both emotionlessly and distant, his vocals are a manifestation of the lyrical theme of utter indifference to tragedy.

"The boiling of the bloodstream is building up inside of me
Air is so black, the air is so black
It brings me down

The endless possibilities are shot down before they can bloom
Skin is so blue, the skin is so blue
It brings me down"

Robert’s low, rumbling bass-line comes into play as the song begins to take on a very murky atmosphere. As Quillington’s vocals become increasingly mumbled and sarcastic, a frighteningly sinister smile begins to form on his lips. The piano playing of Oldson is also more pronounced and forceful, as if the subdued undertones of earlier are now rising to the surface. The insanity seems to be controlled, but just barely.

"The windows are shut to blind ourselves of what’s outside
Eyes are so white, the eyes are so white
It brings me down"

The mood suddenly shifts back to what the song began as. Roberts stops playing bass, and Oldson's piano reverses back into uneasy peace. All emotion is repressed, and the indifference is back at the forefront. A full circle.

"The city is so silent now that past rights have been wronged
Water is so red, the water is so red
It brings me down"

Failing Expectations

“I’d say it’s about time we end on a happier note, wouldn’t you agree?” Quillington jokingly asks Roberts as they prepare for the final performance. While the other two songs have seen the members branch off into different instruments, they have now returned to where they belong; Quillington on guitar, Roberts on bass, Oldson on drums.

Sitting on his amp, Quillington plays several chords as a warm up before beginning the song. His guitar instrumental is now a complete contrast to earlier, as there is a beautiful feeling of genuine feeling of peaceful calmness to his playing. Oldson adds to this chilled-out feeling with simple drum fills, while Roberts carries the relaxed rhythm. Although this performance is just as structurally dense as the other two, it is nowhere near as chaotic. After several minutes of this serene instrumental, Quillington stands up (while still playing guitar) and moves towards the microphone for his vocals. His soft, semi-falsetto singing carries the mood perfectly;

"The colors and the spectrum collide to make pretty designs inside our eyes
Orbits can give out beneath my feet, yet I’ll still be standing
I’m your guide as we softly fall away from the expected
And when we’re finished drifting upwards, there’s nowhere to go but down"

The song shifts back into an instrumental, but something has shifted. Robert’s playing has quickened, and the tempo of the song has increased ever so slightly. The calm mood has evaporated, leaving something much more anxious in its wake. When Quillington eventually resumes singing, his vocals have also changed; it’s no longer emotionally charged, and is in a mumbled style similar to ‘Vague Similarities’.

"I can’t communicate my feelings, but everything’s alright
I’ll simply float away and say goodbye to the night"