It’s not often that you tend to think of instrumental guitar albums as fun, the notion (more often than not) conjuring unbidden images of overt technicality and po-faced conceptualisation. Geoff Tyson, however, is not interested in such a staid approach and, as befitting a guitarist who studied under the effervescent Satriani, his debut instrumental work is a multi-hued work that places the song over technicality at every turn. That is not to say that it is not a dextrous work of musicianship, but rather than the musicianship is secondary to the playful spirit that pervades this short, sharp, ten-track work.
Opening with the dizzying Six Weeks Of Tina, a rambunctious blast of twisty tempos and spontaneous chord shifts, Geoff wastes little time in getting the listener onside. For sure, this may not have vocals, but it’s still a party record, more in love with the spirit of rock ‘n’ roll than the form, and it really kicks the album into gear in a manner reminiscent of Satriani’s most smile-inducing moments. Touches of industrial touch the hard-edged Shag, a track built around a taut riff and a menacing air. Augmented by keyboard, Shag recalls the soundtrack work of Trevor Rabin (most notably his work on The Glimmer Man), and the track packs a powerful punch. Next up, the bizarrely-titled Strawberry Napalm glows, rather than blazes, Geoff deftly weaving a subtle intensity into the piece as synth patches sweep across the mix to ignite the solo that lies at its heart. Having successfully drawn the listener in with three tracks that showcase the power and diversity that can be brought to bear in an instrumental setting, Geoff neatly changes gears with the beautiful, contemplative Like Life Is Set In Stone, a track that draws on the neo-psychedelic melodies of latter day Soundgarden with impressive effect. It leaves Bark to round out the album’s first side in a funky, slightly psychedelic blast that is fast, furious and fun. Boasting some of the album’s most dexterous soloing,
Bark segues more-or-less directly into Asabara, a more reflective piece with a progressive vibe that is enhanced by the dark drones that underpin Geoff’s expressive lead work. Sensibly keeping the piece short to maximise impact, Geoff ups the pace once more with the dynamic Monkey Love, an album highlight that lives up to its name as it dances from section to section. A fluid piece, it also boasts some wordless backing vocals that add a touch of depth to proceedings, making for a surprisingly memorable track. The stuttering Freckle sees things take a left-field turn filled with the promise of adventure, but it’s the lovely, slow-burning beauty of Are You With Me that steals the show. All Floyd-esque guitar and synth, it’s a warm, rich track that stands alongside Monkey Love at the album’s peak. It leaves the feline prowl of Liquid Kitty to round things out. An addictive number that sees the guitar wrap itself around a quirky synth beat, Liquid Kitty perfectly sums up Geoff’s dynamic approach to composition and leaves the album, and the listener, on a high.
Drinks With Infinity is one of those rare instrumental guitar albums that is perfectly paced and structured to make the most of the form without overplaying its hand. Geoff is an outstanding guitarist, but he is content to stand back and allow top billing to go to the song rather than the artist, a decision which makes for an engaging and endlessly likeable album. An effervescent effort that recalls Satriani at his very best, the occasional dips into reflection are all the better for being the exception rather than the rule and the album as a whole flies past in what feels like a fraction of its run time. 8.5
