This album is another great addition to the Paul Ellis catalogue, imbued with his usual brilliant creativity and invention. He is a truly unique artist and continues that tradition here.
The music is pure listening pleasure,with Paul's beautifully crafted and layered electronica totally entertaining you from start to finish. It also has that intelligent and reflective vibe that is so typical of Paul's work,and i found it overall to be a totally soothing and uplifting experience. The final track MirrororriM, is a sequencer extravaganza and a dramatic step up in pace compared with the rest of the album. I found it totally amazing. There is a section towards the end, where Paul appears to stop the sequencer line almost in its tracks, and then it implodes.
He does this several times and it's amazing.A superb way to finish the album. If this wasn't enough,the third track is one he did with Nemesis called Forever Endeavor, and it's absolutely fantastic.
It has a bit of a TD Stratosfear feel to it, but at the same time is totally fresh and new. Superb!
I highly recommend this album to all fans of Paul Ellis, and if you haven't sampled his work before, here is a great place to start.
You won't be sorry you did.
2006. Roy Jackson / UK


In his continuing investigation into contemporary electronic music, Paul Ellis has produced The Infinity Room (60'01").
On this sonic expedition he provides music no less structured than on previous releases, but with a reduced directed energy. While the heat may be turned down, this music is still quite animated in its color range and articulation. Working with a palette out of the tonal twilight, Ellis carefully layers elemental tones and distinctive accents over an ever-shifting foundation of chords to form a range of new and expressive synthetic arrangements. His synthesizers, powered by a current both electrical and imaginational, allow Ellis to inhabit his own territory - somewhere between a new cinematic spacemusic and an ultra-cerebral prog-rock. Each of the six tracks begin simply, but in time evoke complex meditations. The vivid sonic compounds are the magic and essence of The Infinity Room.
Each piece possesses a unique and original narrative formed out of engaging melodies, a beautiful contrast of harmony and a continuum of classic and newfound sounds. With this work, Ellis proves that carefully arranged and composed melodious electronic music made up of complexly modulated sounds and dramatic tonal shifts need not sound obtuse, overly intellectual or trite. From cosmic stillness, to shining brilliance, to sensory seduction, Ellis' imaginative scoring and captivating intensity conjure up new visions with each session.
Chuck van Zyl / Star's End

Apparently some of the themes Paul found suggested by and influencing the music, were Time, Mortality, Autumn, Echoes, and the equal length of the tracks was an exercise in saying all he wanted to get across,in pre-set time frames.
But what about the music itself. Well I have to say as a big fan of Pauls, that on first listen to this album, I thoroughly enjoyed it. As a musical experience I found it very relaxing. But Paul had lulled me into a false sense of security as on the last track a beautiful melancholic cello piece played by Brenda Erikson, suddenly gives way to a kick a** sequencer fest completely jolting me out of the cosy comfortable doze I had slipped into towards the end of this sequencer extravaganza, which finds Paul really enjoying himself, he starts imploding the driving sequencer line back in on itself, and then goes on to create some more incredible effects, that I won't even attempt to describe. Brilliant! An absolutely cracking track, but I'd like a bit more warning in future please Paul. Thank you!!!
The wonderful track I mentioned before, that Paul did with Nemesis, has found it's way on to the album as track 3, entitled, Forever Endeavor, and a very welcome addition it is too. For me it has references to TDs Stratosfear album, and is truly superb, including lovely Mellotron effects. Not to be missed.
The rest of the album is also of the highest quality, with Pauls musical brilliance permeating the whole affair. There is just something about Pauls music that I find utterly compelling, and I was hooked and entertained from start to finish.
Paul suggested the album has an overall melancholic feel to it, which I did not pick up on at first, but as I've listened again I do see what he means.
The album is not depressing, but it does have a reflective and pensive quality. That is, until it kicks you up the backside in the last track. I think this maybe Paul in playful mode. You decide.
2006. Roy


Paul Ellis unique brand of electronic synthesizer music starts slow, subdued, and utterly cool with 'Tick Tock', the first of 6 tracks of exactly 10 minutes each. The confident assurance in Ellis composing and playing grow with each release. The reserved beginning relaxes the listener and sets up a sense of appreciation and expectation.
The coolest abstract sounds open 'The Realms of the Unreal', and it too remains low-key throughout, softly percolating sequencing appearing only in the latter half, and even then rather restrained.
'Forever Endeavor' has an expansive feel like Robert Carty’s space music, alive and breathing. Buzzes, crisp percussion, and a nifty bass line move more into Ian Boddy mode, followed by warm Mellotron strings; beautifully composed and rendered.
'Flesh and Blood' takes a relatively simple, pleasant musical phrase and explores it fully, developing just so.
'The Unveiling Moment' is a perfect counterpoint to it, the softest and most soothing track, complete with chirping birds but without any of the pitfalls of new age.
The surprisingly brisk and exciting 'MirrororriM' ends things on a most upbeat note.
What is striking is that the music seems to be in the exact middle of any scale you could use to define it; with rare exceptions, it is neither slow nor fast; neither loud nor quiet; and neither happy nor sad. And yet, rather than finding a mundane middle ground, it hits the sweet spot, the perfect center of what it should be. That makes The Infinity Room Pauls best effort to date, and something special.
2006. Phil Derby / Electroambient Space


Paul Ellis has succeeded in achieving an impressive sound adventure in this release, whose roots are within deep Ambient as well as in the Space Sequencer Music. The artist wisely measures rhythm, melody and atmospheres, with an architecture rich in dense orchestrations, even if not lacking in passages dominated by soloist sounds or turbulent environments, The album displays the artistic creativity that Ellis has, as well as his skills in the use of synthesizers.
Edgar Kogler