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Biffy ClyroInfinity Land Remote Control/Inertia Take that, Franz Ferdinand. And that. Kapow. Alright, so maybe 'Infinity Land' doesn't really reach the lofty heights attained by Franz Ferdinand's catchy melodies and perplexingly gargantuan production. However fellow countrymen Biffy Clyro, apparently cult superstars in their native land, have certainly delivered us a far more complex and interesting album. In the process, they have denied themselves a clear-cut voting poll winner; but then, when has that ever really been a measure of true quality? To attempt to adequately describe Biffy Clyro is like trying to decipher the Australian Labor Party's policy statements. Both the band and the Party have borrowed and stolen from absolutely everywhere, and in the process created an illogical and somewhat incoherent new world. Both have abrasive, hard edges that may be difficult to listen to, but both have quite soft centres; and I think we need more of both in order to make the world a better place. The two most popular UK singles from this album, Glitter And Trauma and My Recovery Injection, are quite bizarre genre-hopping concertos which start with harsh, almost old-school metal guitars followed by electro-style beats, then followed by cheesy pop choruses. While they're half-decent songs, in my opinion Biffy Clyro excel when they stick to extremes: the piano and xylophone isolation of The Atrocity, followed by the noisy operetta of Some Kind Of Wizard is my favourite moment of the record. And sure, to hear the superfluous complexity of Biffy Clyro on the radio all the time would quite possibly drive me completely mad; but I've only had the album for a week now. I'm still quite enjoying it.  |
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