To wit, "The First Time" gives a cajoling go at minimalist electronic pop à la The xx while subtle lullaby "Aqualung" offers more daring atmospheres and an abstract yet captivating finale. "Seven Days" even attempts bass music without the bass, leaving you with dubstep-ish syncopation and an overall intriguing proposal.
Unfortunately, the album's downfall is the vocals. "The Edges of the World" showcases Suzanne the Man, and it sadly displays a slightly dated trip-hop vibe. She also appears on album opener "Check Chuck" and on the disquieting "Rooftop," which both flirt with leftfield indie disco. When Raynaud or Eluerd themselves get behind the mic elsewhere, you're confronted with half-arsed attempts at singing in English, which annoyingly sounds like the male equivalent of Mlle Caro's infamous impassive elocution. "Biome" takes the total abstraction route and comes across as a beat-less, four minute introduction to the album's penultimate cut, which is also its most accomplished: "Polar Bear" works because of its gritty and restless bassline, but also because it ditches all of the album's previous preciousness for less upfront vocals.
Sometimes Infiné's releases are easier to respectfully nod your head to than fully immerse yourself within. This one is no different: The Edges of the World, for all its ingeniousness and meticulous attention to detail, ultimately makes it hard to ignite anything more than genuine but polite acknowledgement.