Patrick Sansone -Infinity Mirrors

by | Mar 16, 2024 | 0 comments

Patrick Sansone, multi-instrumentalist, producer, singer, photographer, and songwriter has spent most of his career lending stellar support to other creatives and musicians. As a long time, member, and musical utility man for Wilco, Sansone’s multiple abilities have made him a vital and permanent member of the group since 2004. During this time, he has also released music as The Autumn Defense with Wilco bandmate John Stirratt, and as a member of Mellotron Variations. In March of 2024, the time has finally arrived for Sansone to release his very first solo record.

Long overdue, Sansone’s new record Infinity Mirrors is an improvisational and personal recording comprised of six movements of instrumental soundscapes. Leaving his penchant for crisp melody in the grooves of the Autumn Defenses discography, on Infinity Mirrors, Sansone combines sonic textures, sultry washes, and spontaneous rearings of soundscapes. Often the layering of these diverse elements results in strange and transcendent moments.

Sansone has had a deep interest in analog synthesizers since he got into music. The flavors used on Infinity Mirrors come from a range of synths like the Roland Jupiter 8, Mini Moog, and Prophet -10.  The record allowed him to use all the tools at his disposal in whatever way he deemed fit. Sansone recorded four of the six songs in 2017, but they sat unrealized until 2021. After gaining new inspiration, Sansone added two added two additional songs in 2021 and Infinity Mirrors was born.

Photo by Mae Moreno

The original plan was no plan at all, with experimentation breeding freedom and creativity. The album is a meditative release from the confines of the traditional song form. Sansone blurs the edges of his music and allows it to bleed over into varied realms. While the tracks are thematically connected, they also stand of their own volition.

Sansone’s submersion in photography work also informs his musical excursions. The similarities between the disparate forms reveals itself through the spinning of the record. Both photography and music require perfect timing, negative space and explorations of light and shade. Abstract ideas become tangible forms through artistic use of the senses. Sansone uses his familiarity of both worlds to develop the themes on Infinity Mirrors.

The relationship between the visual arts and music is long and involved. Both can spread into the other, as the subject of an image can inspire song, and the melody of song can evoke images. Working in both arenas requires a sensitivity to capturing the perfect moment whether using film or tape. The record expresses a beautiful simplicity out of its complex layers. All the songs on Infinity Mirrors range from 6 to 8 minutes long and are patient unhurried creations.

 The album begins with “Measures,” a pillowy undulation. An ascendent sound rises from under the alternating central line. The sonics almost become human and subtly morph behind the veil of layered humming.

The second movement, “Laughing Abyss,” follows with different personality traits and is an inky rippling buzz, a spectral subterranean machine, moaning from the dark. The song elicits the second side of Bowie’s 1977 Heroes album. An instrumental movement inviting you to feel something. The elongated sounds cross currents and develop a Shepard’s tone, where you can feel movement inside the songs layers even if there may not be any.

“Dream Molecule,” begins with fat round bulbs of water rhythmically pulsing in drips and drabs. Some float away like multifarious bubbles some land gently on flowered alien hillsides.

“Jupiter Removed,” reveals itself with a chilling opening drone, a tone that reminds me of a soundtrack of “A Clockwork Orange.”  The song, a vibey and ambient analysis of a musical meridian. “Phosphenes,” the definition of which is the shapes that can be witnessed when the eyes are closed elicits a sense of foreboding through a moaning spacious drift.  Stratified details reveal themselves through a careful focus on the darkened synths and airy silences.

The final song on the record, “Press to Null,” rises and falls with a clandestine celestial positivity, meeting in the middle where newly discovered sounds are created from its various elements. A proper ending to the record, as it feels like a culmination of the ideas built upon from the previous five tracks.

Infinity Mirrors, is the record that Patrick Sansone has been waiting to record his entire career. It’s a release from the confines of the mainstream and in a way, an artistic reset. Sansone works on the fringes of sound with a freedom offered by no expectations. It’s a record for overnight drives toward a sunset, dirt roads that lead into lonely woods, and for eyes closed quiet contemplation.

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