Chris Ianuzzi Tests the Limits on Singles “Infinite Prize” and “Setagaya”

By Deuce

Brace yourself before venturing into the world of Chris Ianuzzi and his latest singles, “Infinite Prize” and “Setagaya”. Realize, you will be heading into unmarked territory where song structure, sounds, and music itself is unlike anything you’ve more than likely heard before.

Visualize a sonic realm in which there is no rhythm. Drums, percussion, naaah, you won’t find too much of that on these tracks. Furthermore, this is a plane in which conventional constructs such as melodies, bass lines, and even bass itself largely doesn’t exist. Rapping, singing, even conventional talking like on an intro or outro? That’s all pretty hard to find and somehow, strangely irrelevant in this dimension.

Instead, we’re talking sounds on these tunes. Dissonant ones, that is, almost all of which are synthesized and collide with each other at varying points in time, only to reverberate in some different trajectory, then do so all over again at some undefined point in the track. The closest thing you’ll get to vocals on “Setagaya” is eldritch snatches of voices in bytes with tripped out effects that seemingly enlarge them after they’ve been heard—if that’s possible.

On “Prize”, for example, there’s no hook or chorus, but there is a refrain of sorts, and one that’s even based on a vocalist articulating bona fide words. It’s more like shouting than singing, but isn’t quite that vociferous largely do to the inordinate—yet effective—influx of vocal effects that transport you well beyond the third planet from the sun.

Actually, it’s not easy to discern whether this space of synthesized sound craft is intergalactic or within the inner recesses of someone’s mind (possibly your own). But with each passing moment you can just feel Ianuzzi pushing the boundaries of what constitutes as a song and what music is as he meshes R2-D2’s favorite form of communication with any of the millions of languages his translator droid pal C-3PO is well versed in.

These tracks—especially when played back-to-back—make for a heady, highly unconventional listening experience. Just make sure you’re ready for it, because it’s likely going to be one to remember.   

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