Though Dan Berridge is not a hardcore veteran producer, he is quickly becoming one of the most accomplished. As much as there was stylistic improvement from Compassion to The Vessel, so is the improvement from The Vessel to In Finite. Even the most inattentive listener could hear this, as Dan himself said, "It's my 3rd album, but at the same time my first. I've found a sound that I've been looking for." Relevant to this continuing evolution is the complete lack of vocals on this album, instead placing focus solely on aural construction. Far less noticeable sampling takes place here as James White returns from Vessel with several new guest musicians to give BP's chamber cinematics a more visceral, live atmosphere, with less of a static approach to the record pop loops which come standard on almost every Broadway Project track produced. "Raga" basks in Capitol K's "City" territory with that trip-hop filtered guitar reminiscent of the distorted guitar-like vocal sample from the peak of Blockhead's "Insomniac Olympics," but the advancing aptitude of Berridge's production and white noise/picture show style, obvious and distinct to anyone who hears all three projects, is present throughout. He just keeps getting better. Album highlight "Blood In The Temple" may be the darkest and hardest BP song yet, matching a hard-hitting DJ Shadow growl beat with his own delicate layering of menacing organic sounds. Simply put, In Finite is more intelligent and better mixed/mastered than BP has ever been.
1. K
2. I, Partisan
3. Blood In The Temple
4. Coutance / Magic Mirrors
5. A Japanese Garden
6. Raga 5
7. Ancient Voices
8. Solar, Lunar
9. Debouch
10. Screwtape's Mistake
11. The World
12. Message From The East
13. The 3rd Stream
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