Normal procedure applies here, mp3s to the left, and once more I've provided you cats with nice big versions of the front, inside and back covers.

This thing is kind of a drone experiment; the last couple of CDs I'd used an echo pedal which feeds back short loops of what you just played, and I found that you get get some heavy vibes going on. So, pretty much the whole of this album is played live, layering on the loops and letting bits of dischord and drone build up real nice. Actually, it begins with a bit of a mislead, 'Distant Lights' is a lot brighter and cleaner than the murky, swampy sound that fills the bulk of the album.

I'm not gonna say too much about this one, because it is what it is, and either this shit speaks to you or it doesn't. Man, that sounds like a footballer talking in cliché...I dunno, this is just one of the harder records I've made to describe, it's dense and improvised, nearly all jams. 'On Tilt' is like the pop moment, for some reason its jumpiness puts me in mind of some of that mad Matthew Herbert shit built of out microsamples. Stuff like 'Scene War' and 'Black Lines' walk a little on the darker side. There are a couple of nods to old conventions on the brief 'Reluctantly' and 'You Lose, Loser', which while done with the same pedal, vibe in a more kind of old-skool Enough Rope way. 'Reluctantly' sounds like that cos it was the only track on here done with overdubs. 'Melting With The Emperor' sees the return to the mic of Enough Rope's occasional partner in crime The Melted Emperor, who whistled, knocked on the mic and switched a Buddha Machine on and off in a track that's somewhere between 'Flip The Witch' and his remix of 'Hey Motherfucker'. The closing track kinda sums the record up, it's a hefty slab of shifting noise which gets brighter by the close and rounds things off in what we consider to be a satisfying way.

The title...oh yeah, that's my nod to Monster Magnet's 'Dopes To Infinity'. It shares nothing in terms of style, but I wanted to incorporate a sense of the infinite looping nature of these tracks, and once I decided I wanted to use the word 'Infinity' it reminded me of that record, and man...the pun was just too good to pass up. It's always cool to make a serious record you believe in and then completely cheapen it with a shit pun for a title. Think of it as a defiant act of self-sabotage or something...

One last thing, 'An Insect Keel' is an anagrammatical nod to the name of a guy from Canada who emailed me out of nowhere a while back to say he dug what I was doing and that in some small way these pointless little musical vibrations resonated with him. I love that kind of thing, you know, it doesn't happen enough to me, but when it does it reminds me that I'm on track, and maybe in this world of shit where clueless dicks like The Feeling and Towers Of London get fanbases, there's maybe a little room for me and my quasi-naive and personal little noodlings.