INFINITE FIELDS - all you need to know about the third record!

Our THIRD record is here! Infinite Fields!

This record can be found on Spotify, iTunes, and pretty much everywhere else except for Pandora!

All songs credited to unless otherwise noted:
Composer: Deuteronomy
Lyrics: Max Aronow
Guitars: Max Aronow
Drums: Dmitriy Prokopovich
Bass: Keith Steinberg
Vocals: Max Aronow
Producer: Andrew Palais
Mixer/Masterer: Andrew Palais

Special instances: 
Lyrics to Naive Garden, Rhapsody in Black: Max Aronow and Patrick Donoghue 
Lyrics to Vector Fields and Spheres of Influence: Max Aronow and Dmitriy Prokopovich 
Composer of Rhapsody in Black: Nicholas Alden and Deuteronomy
Composer of Elevator, Dessert Wine: Patrick Donoghue and Deuteronomy
Composer of Naive Garden: Deuteronomy, M. Yamamoto, Y. Ohno, S. Yoshinaga 
Bass on A Cuban Sandwich: Daniel Panus 
Backing vocals on Between: Daniel Panus 
Backing vocals on Vector Fields and Spheres of Influence: Andrew Palais and Dmitriy Prokopovich
Chimes and organ on Rhapsody in Black: Nicholas Alden 
Piano and organ on Christie, Dream Dictionary: Max Aronow
Vocals on Dessert Wine: Dmitriy Prokopovich
Saxophone on Dessert Wine: Dr. Mantis Toboggan, MD 


(Commentary provided by Max Aronow)

Naive Garden: If an interesting backstory just happens to be your type of thing, then look no further! I was in Long Beach Island, New Jersey, in August 2015 with my cousin James. Together, he and I walked to the local park and sat on the swings. The corner of my eye caught a small garden with plants indigenous to this region of New Jersey. The sign was a bit dilapidated, see, and the nailed-on letters saying NATIVE GARDEN were coming loose. The T actually fell off in the breeze, making it say NA IVE GARDEN. This got my thoughts in gear, thinking, what would I plant in a naive garden? This was the first instance of me and my good friend Patrick Donoghue(of Thirty-Five to Philly) working together on lyrics. I really am pleased with it, and it's my favorite track on the album. Especially the 15/8 time signature intro/outro, and 5/4 bridge. 

Elevator: It's literally us making elevator music. 'Nough said.

Serena: In the summer of 2012, I met a girl named Serena during a layover in an airport lounge en route to Madrid, Spain. We kept in touch since.She is from Minneapolis, Minnesota, hence the outright Minneapolis references throughout (for example, "612 on the caller ID"... 612 is MPLS, MN area code). I told her I'd write her a generic pop song with her name. The opening chord progression is centered around a pitch axis of E, using an E augmented chord in place of a Bb minor., which I thought was interesting to try to compose. There's a bunch of time signatures in this song, 4, 5, 7, 9... who knew you could use them in pop music? Funny enough, the music that is now Naive Garden was initially called "Serena".  

Heavy Arms Dealer: Friendly "diss track" against our pal / super fan David Hyman, who raps under the moniker Rawwtops. His signature phrase is "howdy". He too just released an EP, entitled BoarBred. 

Christie: NOT about the Governor, no. 

Dream Dictionary: Have ya ever taken sleeping pills and not fallen asleep right away? Know that feeling? This is the soundtrack to my experience with such. We were experimenting with writing a song with no real chorus. (sure, you can count the end as a chorus, if you want, but we don't!) 

Vector Fields and Spheres of Influence: This song was borne from the thoughts of Dmitriy Prokopovich. He came up with the riff and chords. Andrew and I helped sculpt his idea, and we were proud he brought an original idea to the table. He always enhances my ideas that I bring to the group, so it was nothing short of an honor to return the favor.

A Cuban Sandwich: Pulled pork, ham, mustard, and a pickle on a buttered pressed Cuban roll. She was almost as beautiful as the sandwich. For some experimentation, I used an 8 string guitar, and had guest bassist Daniel Panus play a 6 string bass. I personally wanted a highly produced sound on this, similar to Naive Garden, but Andrew opted for a more bare-bones, raw, route. To me it sounds undercooked, but I trust his judgement and vision. But, enjoy. Salami optional. 

Between: Do you have any fucking idea of just how difficult it is to write something meaningful over a 5/4 groove? Even when it's tight as hell being laid down by the one and only Dmitriy Prokopovich? Yeah, I fucking thought so. Who are you, Jethro Tull? Call me when you get something. But in the meantime, here's some really Russian sounding, dadaist circles of words. 

Democratic People's Republic of Loneliness: This song is comparing depression to living in a Communist regime. We're all Eastern European ourselves (hence, Cosmonaut LP... but hey, there's a whole other tab for that!) I bounced a lot of my lyrics off my Czech pal, Vojtech, who is very bright in the subject of history, and he fact-checked me and ensured that the analogies I created were fair, with historical correctness. This is another song with no chorus. The time signature is 12/8, switching to 11/8 around three quarters of the way through. 

Rhapsody in Black: "Suicide is meaningless". Patrick Donoghue is an amazing songwriter and I'm so glad we got to work off of each other for some really powerful and personal lyrics on this piece. 

Dessert Wine: . . . 

Dreams as Amontillado (Never Were): This song isn't on the album, hell, it's not even technically ours, but... this song was recorded by Thirty-Five To Philly, Pat's project, smack dab in the middle of the sessions for the album, in the same studio with the same producer, Andrew. I'm going to start from the beginning. I met Patrick Donoghue when I attended Drexel University for a week. I heard him riff words, and I was so impressed that I approached him and befriended him. We kept in close contact, and helped each other write, remotely. He lives about an hour and a half from me in Downingtown, PA. From the minute I heard the basement demo of this song, Dreams As..., I knew I had to hook Pat up. I signed him to Deuteronomy's Creative Space Records, and guested on the single, providing duet style vocals (or should I say... DEUT style vocals? I'll just show myself out...) and guitar. Mijka Smith alo provided backing vocals, and Tim W. Smith (no relation) of Brooks provided the shaker. And in case you couldn't guess, yes, the 9/8 outro idea was brought to you by none other than yours, truly... 


Album artwork provided by the fabulous Michael Apprich. It's very vaporwave in terms of being artistically influenced. Below is a rough draft, for your viewing pleasure. 

Michael has proved himself to be a master of glitch art! 

The figure on the cover is Hypnos, Greek God of Sleep. His mother and father were the dieties of night and darkness, respectively. His twin brother was the personification of death. His one son was Morpheus, God of Dreams, whence the band Morphine drives their name (we ourselves are very influenced by Morphine). His other two children were the embodiment of nightmare and illusion, respectively. All in all, pretty badass dude, right? And did he mention he has a fucking head with wings

With the previous record, Cosmonaut LP, we got the title from a lyric of A Brain..., "where the rough-wrought little Cosmonauts dwell...". Keeping to this new-found tradition: The album title comes to us through a lyric in Serena. "... Infinite Fields of Indianapolis".  A girl we know, named Infinite Fields, lives in Indianapolis, IN. She is literally Infinite Fields of Indinapolis, but to anyone who does not know that, an image of fields never ending is called to mind. Her name when thought of, literally and in a broader sense, was just... to perfect to not name the album! For this reason, the floor seems to go on forever on the cover.