“I feel a deep sense of loss listening to this music, but at the same time feel the possibility of transcending loss through sound. This album isn’t intended as an illustration of anything, but I would like it to be transformative, for the sound to resemble the feeling of death. This is an elegy.” —Furtherset
The Infinite Hour is a shattered elegy synthesized in electronics. Furtherset’s music does not explain, conclude, or justify, it simply manifests the grip of anguish. As a whole, the album’s six compositions resemble the laboured breathing of a subject who mourns impermanence and fears oblivion. A feeling like having one’s chest weighed down by a stone, while still being attentive to one’s breath, and aware of what remains. From this dimension The Infinite Hour arises and transfigures loss into a space that is always extending: the hour is infinite, the melody is circular, and even stasis has its own measure that is exceeded into eternity.
The album was created between 2020 and 2022, in a slow process of writing and continuous refinement, parallel to the project’s previous EP Auras. The compositions found their final form during the mixing process, conducted together with composer & sound artist Bienoise (Mille Plateaux). They were later named based on references to authors who are cherished influences of Furtherset: Amelia Rosselli, Vladimir Chlebnikov, Hubert Damisch, Dante Alighieri. Each track, composed with its live rendition in mind, discloses possibilities and pathways that are never definitive. Their live performance, an increasingly distinctive dimension and consideration within Furtherset’s work, is a gesture of concentration and extension, where every composition is developed through meticulous variations of each singularity.
The Infinite Hour is one possible manifestation of Furtherset’s metamorphic sound, an idiosyncratic language always on the verge of disintegrating and collapsing, yet alive to alternative spaces, times, infinities.
Furtherset is the musical project of artist and musician Tommaso Pandolfi (1995). His compositions draw distinction from formal stratifications, recursive modulations, synthetic clusters, deft sampling, and rhythmic, evocative harmonies. The project is envisaged as an embodiment of sound research, an aesthetic process that focuses on ideas of profusion and structured assemblage. Yet the output of Furtherset remains an open prospect for the listener, engendering spaces for them to inhabit and fill, according to their own disposition.
