Great Sounds Great; Bad Sounds Bad: Grayson Gilmour ‘Minus Times Infinity’

Grayson Gilmour

Great Sounds Great; Bad Sounds Bad is a column which sees a panel of writers for The Corner review a range of local singles and grade them out of 10. Check out the song below, read through their opinions and let us know in the comments section your own thoughts and what you’d like to see reviewed next time around.

[YouTube / Bandcamp]

[Grade: 6.8]

Chloe Cairncross: I’ve been hearing a lot about young Mr Gilmour recently, which surprised me slightly as I only knew of him as the seemingly shy boy that worked at a record shop off of Cuba Street. My ignorance is to blame; a little research shows that this track comes off of his seventh album, and he is a well-known figure on the music circuit due to his work with So So Modern. This track is particularly lush with concentrated texture that rises and falls like the narrative of a myth. I type that probably because I am still in awe with the video more than anything. Director Jessie Taylor Smith hand-painted each frame of Grayson’s battle against a dragon (yes, really), leaving us with ideas of quaint fairytales contrasted with Gilmour’s grim yet humorous end. However, take time to listen to the track without watching the video. It remains euphoric, beautiful, yet surreally mysterious. [8]

Luke Jacobs: There’s a very charming quality to ‘Minus Times Infinity’ and the pacing of the song adds to that charm in a subtle way. Despite an airy wistful feel the song still has a decent sense of gravity. I still didn’t feel like it was a track that I could really ‘get behind’ because, despite the sense of gravity, it never had the vocal dynamics to really set it apart.

I think that in a live setting the song would work a bit better because the rougher sound would give it a bit more shape. There the vocals could seep through and become a bit more engaging. As it stands it is pleasant but not essential. [6]

Gavin Coughlan: Whoa, this starts off like I have just tuned into an indie song in full climactic crescendo on the radio. At first this song sounded like a mess, like little islands of melody all pieced together with no real coherence. But the more I listen to it, the more it comes together.

If you are familiar with Gilmour Grayson you will instantly recognise this as his work; he definitely has a unique sound. After multiple listens I’m possibly appreciating this track more then enjoying it and it may take more time for it to really resonate with me. The fact that the video was hand painted frame by frame over the course of a year earns extra kudos though. [7]

Nick Raven: This is a psychedelic effort but I’m feeling a bit left out. I want lyrics to connect with but I can’t hear them. There is potential for a great song here and I love the music.

There is a fantastic vocal melody, but I just want something more. The video seems pointless to me. It doesn’t do the song well. If the vocals were clearer it’d be a 8, but this drops to a [6]

Elizabeth Beattie: This song takes a few listens to fully explore. The percussion compliments the inconsistent and unpredictable sound layers which ebb and flow throughout the song flourishing alongside Gilmour’s vocal performance. There are pop hooks, but the soundscape Gilmour juggles is sophisticated and layered. I really enjoy this track for the sonic journey it takes the listener on. This music is refreshing and confident, engaging yet challenging. [10]

Eden Bradfield:

Hey Hussein,

I don’t feel anything about the Grayson Gilmour song so I don’t feel like I can review it – it feels technically accomplished and he is good at what he does (like how a personal trainer is good at what they do, I just have no interest in personal training). It provokes no emotional reaction in me. None. Bill and Ted’s Excellent Adventure provoked more. [4]

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