At a time when we still romanticise the “overnight success” story, Infinity Song are a reminder of the myth that often accompanies one. For the Michigan-born family band – made up of preternaturally talented siblings Abraham, Angel, Israel and Momo Boyd – music was foundational in their family long before record deals and world tours were a part of the equation. From singing in the kitchen under the tutelage of their choir director father to busking on the streets and subway platforms of New York, before signing to Roc Nation in 2016, sheer talent alone by no means offered Infinity Song a fast track.
As the group noted to NME two years ago for The Cover, it was seven years into their major label journey when Infinity Song finally “got the world’s attention” with their soft rock shift, thanks to the viral ‘Hater’s Anthem’. That moment cleared a path for the band to make an assured stride forward on 2024’s ‘Metamorphosis Complete’ and an even bigger leap on their self-titled third album. There’s no mistaking the collective confidence driving the reinvigorated group’s new era, which is best represented by their monochrome album cover that unmistakably channels Fleetwood Mac’s seminal ‘Rumours’.
If their acoustic covers and harmony-filled originals sent swathes of new fans their way, it’s the electric guitar calling people to the dance floor here – indeed, even the mosh pit. Their turbo-charged ambition surges through ‘Hurricane’, a funky downpour of rhythm and soul set in the eye of an emotional storm, delivering the album’s most danceable hook atop a syncopated bassline: “H-hurricane let it pour / And I’ll keep waiting for more.” Propulsive rock yearner ‘Sayonara’ similarly showcases how gracefully Infinity Song can intertwine genre influences, which features the kind of distorted, grungy chorus you’d expect to hear from Paramore or Olivia Rodrigo.
The harmonious ‘One Foot Out’ will be most pleasing to fans who discovered Infinity Song in the genesis of their soft rock era, though sonic key changes like the chilled-out ‘Stranger Danger’ and soulful ‘Running Away’ risk being skippable, even if the vocals are as mellifluous as ever. The concept interludes of ‘Many Rivers’ and ‘Soldiers’ similarly feel misplaced on such a propulsive project, with the band seemingly treading two eras and occasionally interrupting their own flow. Instead, the most exciting moments come when Infinity Song commit to their risks, like the angsty ‘90s emo-indebted throwback of ‘Break Out’, the cinematic jangle-rock ambition of ‘Deja Vu’ and the bass-rumbling rush of ‘All Of My Friends’.
If ‘Metamorphosis Complete’ expressed the hopeful ambition of a band finding themselves, ‘Infinity Song’ showcases the quartet firmly in their groove and hitting almost every beat. We can only hope their next effort takes an even more unapologetic swing in this new direction. Fortunately, Infinity Song know a thing or two about trusting the process.
