Album Review: When Saints Go Machine - Infinity Pool

When Saints Go Machine
Infinity Pool
Rating: Grrrr

Danish electro outfit When Saints Go Machine will likely never be accused of going mainstream; they are much too enamored of bending machine made sounds into the most twisted shapes imaginable. Over the course of two albums they have jumped back and forth from somewhat more traditional synthpop tracks (with a much needed edge) and extremely challenging soundscapes and musical experiments. I keep waiting for that one album from them that balances these two forces equally, creating that perfect blend of pop savvy and sonic exploration. Their last record Konkylie was about as close as they could get for me so far, with just a few too many tracks that skirted too close over the line at times into too experimental. The first two teaser singles for new record Infinity Pool immediately got my attention. "Love and Respect" featured a more hip-hop leaning bent, with boom bap programming and a guest turn from Atlanta rapper Killer Mike, showing a new edge previously missing from their records. While "Iodine," a more traditionally WSGM synthpop track, initially didn't make as stunning impression, its all-enveloping warmth and humanity washed over you so easily, taking you into its considerable spell. So with trepidation I received the full length album, really wanting every track to strike me the way these two did. While none of the remaining tracks hit the highs set by these two tracks, ultimately Infinity Pool works as a yang to Konkylie's yin, providing a similar experience, albeit one that is darker and more challenging, but yet still admirable.

Of course the two standout tracks are the aforementioned singles. "Love and Respect" is so startlingly fresh for the band, it is almost difficult to imagine it is them at first, with its dark beats and rap from Killer Mike. Of course, once Nikolaj Mauel Vonsild's distinctive falsetto hits, it is immediately apparent who it is.



"Iodine" works its magic through a steady, clomping beat and intertwined synth lines that snake in and out of each other. Vonsild's voice is delicate and fragile, exuding a plaintive air of sadness and mystery.



Infinity Pool hits the high points for me on these tracks that take risks but yet still operate in a more traditional song structure. There are many moments where WSGM are firing on all cylinders and create some of the most avant-garde pop tracks of the year. "System of Unlimited Love" burrows under a bed of dense drum programming as swirling and sparkling synths fight against the darkness,



"Mannequin" feels like a cross between Kid-A era Radiohead synth experimentation with a classical sensibility,



"Webs" is a slow march of intricately layered keyboards and Vonsild's aching vocals, and closing track "Slave To The Take In Your Heaven" glides from organ reveries into a lush drum and bass coda.



Too often though, the tracks head off into experimental territory, preferring texture and atmosphere over beats and hooks. While a couple of tracks here and there would have been a good palate cleanser between the poppier tracks, there are far too many of these tracks throughout Infinity Pool that tend to weigh things down. With that said, there are a couple of decent experimental tracks here and there. "Infinity Killer" moves over fractured drones and bass wobbles to interesting effect,



"Order" has a striking use of muted keyboards underneath and more bombastic fanfare of brassy synths, while "Deadboy" has an odd affinity with the Japan single "Ghosts" with creaky, ominous keyboard lines throughout.

Aside from a couple of out there tracks, Infinity Pool is another worthy record in When Saints Go Machine canon. While I tended to be drawn to their more pop-leaning tracks, it is clear from their output that When Saints Go Machine is not particularly interested in making anyone other than themselves happy with their music. With the strength of their songs, it is hard to argue that this approach is not working for them. Instead of wanting something different from the band, it is best to just appreciate them for what they are.

Rating Scale:

Chilfos: masterpiece; coolest thing I've heard in ages.

Woof Daddy: excellent; just a hair away from being a masterpiece.

Grrrr: very good; will definitely be considered for my top releases of the year.

Yeah Daddy Make Me Want It: good; definitely invites further listens and piques one's interest for more material.

Meh: not horrible, but certainly not great; could have either been polished, trimmed, or re-thought.

Jeez Lady: what the hell happened? Just plain bad. They should hang their heads in shame and be forced to listen to Lady Gaga ad nauseam as penance.

Tragicistani: so bad, armed villagers with pitchforks and torches should run the artist out of the country for inflicting this abomination on the human race.