Infinity Girl
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Infinity Girl


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Infinity Girl @ Great Scott

Boston, Massachusetts, USA

Boston, Massachusetts, USA

Infinity Girl @ The Common at Fox Hall

Lowell, Massachusetts, USA

Lowell, Massachusetts, USA

Infinity Girl @ Great Scott

Boston, Massachusetts, USA

Boston, Massachusetts, USA

This band has not uploaded any videos
This band has not uploaded any videos



It’s time to check out a bunch of the tracks I have not posted recently. These are just a few of the songs that would get their own individual posts here on GIMME TINNITUS if I only had the time. Here is the next NOT POSTED mix.



Hate Your Teachers (mp3) by Unnatural Helpers

Violence Now (mp3) by Milk Music



Mallrats (La La La) (mp3) by The Orwells

Cat & Mouse (mp3) by Bear Claw

driver’s river (mp3) by videoing

Polyamory (mp3) by SLOTHRUST

Asunder (mp3) by Fang Island

Friends Like These (mp3) by Thick Shakes
[pay-what-you-want for French Dyppe @]


Unlearning (mp3) by Secret beach
[d/l a Mild Wild sampler @


Someone Like You (mp3) by MANNEQUIN PUSSY
[ d/l New Stuff @


Frozen Stiff (mp3) by K-Holes
[d/l the Hardly Art Amazon Sampler 2012 @


walking around (mp3) by infinity girl
[pay-what-you-wnat for stop being on my side @]

14.Float In Clouds (mp3) by Suburban Living

Addiction (mp3) by The Underground Youth

waves of bad intention (mp3) by elvis depressedly
[pay-what-you-want for mickey's dead @


The Next Generation (mp3) by Life Coach
[pay-what-you-want for Life Coach @]


Super Blues (mp3) by Archers

So Prone (mp3) by SLUTEVER
[pay-what-you-want for PRETEND TO BE NICE @]


Lupine Dominus (mp3) by Thee Oh Sees

What You Wanted (mp3) by Seapony

City Girls (mp3) by Napoleon

Nassau (mp3) by Grassfight

Spiral (mp3) by Wye Oak
[d/l more Adult Swim Singles @]

You can stream (and scrobble) all the songs in this mix using the player at the bottom of the page OR you can just download any or all of the tracks at your leisure and play them using a digital media player of your choice.

If you want to download all the individual tracks in this post, you should probably think about installing the DownThemAll! or FlashGot Firefox extensions as we are way too lazy to zip and upload every single NOT POSTED mix.

Also, if you like what you hear you should probably purchase music from the above artists at any of these fine online retailers (or your local independent record store):

Insound | Amazon MP3 | eMusic | Other Music

And be sure to check out the other NOT POSTED mixes.



1. Infinity Girl - "Blood and Dirt"

2. John Blaze - "Butterfly"

3. Kid Astro - "Deck It"

4. Hands and Knees - "Dreamt"

5. California X - "Mummy"

6. The Sun Parade - "Need You By My Side"

7. Lady Bones - "Self Control"

8. Camp Hope - "She!"

9. Potty Mouth - "Shithead"

10. Seer Group - "Year of the Flame"

- Allston Pudding

Infinity Girl – Blood and Dirt from Stop Being On My Side, 2012 - WZLX

And after tonight, there’s only one more show left – our time is nearly up on the FM dial, which is essentially the new AM dial. Don’t miss the grand finale for our Boston Accents as we currently know it, starting next Sunday at 8pm – we’ll have a bunch of in studio guests and maybe, just maybe, we’ll break curfew and party all night long. Onto tonight’s wet hot Boston summer action...

INFINITY GIRL “Please Forget” – Got hip to this noisy Boston quartet (maybe named after the Stereolab song??) via the latest Allston Pudding Localz Only: July mixtape, and became smitten with this jam, track 2 off their Stop Being On My Side record that came out in May.

INFINITY GIRL “Please Forget” – Yeah fuck it, I played it twice. Catch Infinity Girl August 4 at Precinct in Somerville and then on August 30 at T. T. The Bear’s Place in Cambridge. BAND 2 WATCH, says I.

CALIFORNIA X “Mummy” – Another band off the AP comp, repping Amherst. Lotta cool shit going on in Western Mass.

FAT CREEPS “Leave Her Alone” – In honor of the new Fat Creeps music video for “Cherry,” in which I get slapped by a lady after she catches me checking out a life-sized slice of pizza. For real. Beach party Sunday fun times!

LUAU “Paris” – Off February’s Spring Fever double single, they’re at O’Brien’s Tuesday. The Phoenix’s OUT column caught up with Luau and Comanche about a year ago.

BLANKS “Pouncer” – Going back a few years with this Honeypump Records release, off the post-punk band’s Infinite Lives record. I found it in my personal collection this afternoon and dusted it off.

UV PROTECTION “Cool Tall Buildings” – Another from my private Boston Music Scene stash, experimental electronic trio (I believe) from the mid-2000s. Some of their members now play in the Secret Sea.

AVOXBLUE “Dreaming Thru Your Eyes (Andre Obin Remix)” – Two electronic music producers coming together here with dazzing results; Obin and Jimmy Rossi perform live on Sunday, July 22 at Middlesex Lounge with New Jersey's Teele and...

SECRET SCHOOL “I.O.U. (Secret School’s Backpack Remix)” -- … Secret School, who posted this rework of the Ghost Ocean track just as we fired up Accents tonight and shit sounds pretty good. Andrew Sutherland knows what’s up. July 22 gonna be a rager.

BLACK LIGHT DINNER PARTY “Leave It All” – Electronic wizards are playing Night 3 of the Boston Accents Funeral Party, Wednesday July 25 alongside Gentlemen Hall, Bearstronaut and Stereo Telescope. Details here.

THE NEW HIGHWAY HYMNAL “Out With The Lights” – New track premiered by Vice Magazine’s NOISEY blog on Friday; single-release party this Wednesday at Great Scott with MMOSS, Creaturos, and the Migs. I picked up 200 CD singles from CD Works in Beverly on Friday to hand out at the show. Releasing the track off my own Vanya Records.

THICK SHAKES “With Friends Like These” – New raucous garage rock jam off the French Dyppe cassingle released this past weekend.

TRANSIT “Listen & Forgive” – Stoneham pop-rock band about to set off on the summer Warped Tour, going strong with more than 44,000 likes on Facebook. Rep Boston well, gents, anmd thanks for hooking up the tracks.

THIS BUILDING’S ON FIRE “Brokenman” – New folk project from James Robert Harkins, who once dabbled in #1 Dad & DJ Fred Mertz with former Bostonian Michael Potvin. JRH hooked us up with the track earlier tonight.

ROYAL WEDDING “Too Many Crowded In The Shelter” – Been seeing this band listed on so many show posters lately, wanted to see what was up. This is the third track off May’s Transmigration record.

BEARSTRONAUT “Painted In The Dark” – Also playing Night 3 of the BA Funeral Party, this will be featured in the fall indie film, This Thing With Sarah.

CASE & POINT “I Love It (Original by Icona Pop)” – We premiered this last week, and wanted to blast it again as we might be the only station that has it. Massive banger remix by the duo of TJ Jordan and Casey Vadum, who joined us last week in-studio.

SPF 5000 “Doorknocker” – Mad love for the SPF crew, who have supported Boston Accents since I signed on last summer. Playing the W Hotel + Boston Phoenix Electric Summer music series on September 20. First such gig is July 26 and features Into The Alpha, Cobi Mike of Gentlemen Hall’s side project.

MYSTERY ROAR “Fantasies” – Going out to my love, Casey Desmond, who is this late dance-pop/post-disco band’s number 1 fan.

ORCA ORCA “Say So” – Allson dream-pop/post-punk project, first started by Jimmy Hewitt as a solo thang before rounding out the live band, playing the Pill this Friday at Great Scott in Allston.

THE POMPS “Icepack!” – The upcoming Mp3 of the Week in the Phoenix, ska supergroup featuring members of the Sterns, Void Union, and Have Nots, headlining Great Scott this Thursday night.

BON SAVANTS “Between The Moon & the Ocean” – Post-rock heroes back in town for another gig, July 19 at Great Scott. We’ve been kissing like a Russian since 2006’s Post Ro - The Phoenix

Boston’s Infinity Girl have released the eleven track album ‘Stop Being On My Side’ featuring ‘Please Forget’ (via Sirens Of Decay). Its an untamed delivery of garage shoegaze, brimming with noise and harsh edges. If you’re not one for polished and polite, check out the rest of the record here. - Sounds Better With Reverb

Boston based Infinity Girl create noisy soundscapes with driving guitar and dreamy vocals, imbuing them with a sense of vastness that belies the fact that this is their very first album as a band. I received their debut Stop Being On My Side and I am definitely impressed. It’s just the kind of rock that I’ve always loved.

When you hear “By Now” and it’s combination of slowly chugging rhythm and amazingly beautiful riffs that just seem to extend further and further into the sky, you’ll be instantly hooked. It’s six minutes of shoegaze bliss, for those of you into being happy about things. For those who aren’t, it’s the kind of sound you would put on when you wanted to create something (or maybe tear it down). Headphones on, mind open.

“Please Forget” is on the opposite end of the spectrum. It’s quick, with a driving rhythm and screaming guitars – very frantic, a chase at midnight and it’s gonna take everything you’ve got to get away. The sound is chaotic, a maelstrom of emotion and instruments that stands out immediately.

My other favorite “Blood And Dirt” almost seems like a whimsical production; everything is much clearer, from the vocals to the slightly distorted guitar that chugs throughout. The ooh’s and aah’s that dot the background of the track make it memorable and otherworldly, while the buildup in the closing minute of the track shows that epic is well within the Infinity Girl scope.

Stop Being On My Side has more than noise and a hazy sound to make it noteworthy. Unlike a lot of shoegaze I’ve came across, Infinity Girl seem to be comfortable in their ability to provide variety; it’s not all five minute stoner rock. These guys have hugged the 90's, embraced the indies of today, and cross pollinated these together with some dispassionate sounding yet still wistful and capturing vocals that will make you sit up (or slouch down in your chair) and take notice.

Infinity Girl are selling Stop Being On My Side for name your own price on their Bandcamp. You can also check em out on Facebook.
- Sirens of Decay

Upstart Boston quartet Infinity Girl last month quietly released a dominating debut, a seamless collection of 11 shoegaze songs that evidences a remarkable facility for recreating the cacaphony, exhalation and swirl that are hallmarks of the genre. The great paradox of apparent success for shoegaze adherents is that successfully emulating the sounds of its most prominent forebearers doesn't afford contemporary bands the opportunity to establish a singular personality upon which to trade. But on its long-player Stop Being On My Side, Infinity Girl with some regularity fearlessly steers into the genre's margins, where listeners can hear the band starting to plot where the past ends and Infinity Girl begins.

That the Boston act has produced something this good only six months after playing its first show is astonishing. Stop Being On My Side is stacked with anthemic, guitar-drenched and melodic noise-pop the likes of which we haven't heard since the last Fleeting Joys record. The Bostonians' "Please Forget" is textbook shoegaze in the very best sense, spiraling, dense and emotionally engaged. The beautifully blurred verses of "By Now" set off triumphant, swooning choruses punctuated by octaved guitars approximating clarion blare. The most immediate numbers impressively channel the classic sound of recently reactivated titans My Bloody Valentine (the shape-shifting "Pulling A Smile From A Drawer;" the sculpted, fiery album opener "Poppyblush"), but there is substantial charm to be found in the songs that echo the sounds of less obvious progenitors such as Yo La Tengo ("Even If"), Velocity Girl ("Cellophane And Gold") and even Pavement (compare the meandering denouement of "Cannons" to the bridge of the fabled slackers' "Starlings In The Slipstream")

Infinity Girl's remarkable acuity for echoing My Bloody Valentine is all the more notable because it goes beyond a recreation of the elder band's sonics. Perhaps more than any peer in recent memory, Infinity Girl succeeds at emulating the Dublin-spawned act's sensual/sexual appeal where most contemporaries often present cold and detached. It's in the pulsing breaths of the bending chords of "By Now," and the insistent, quietly violent arc of feedback throughout "Even If," which spreads like a line of skin appearing from beneath an unstoppable tear in a black stocking. And, if we are hearing the (naughty) lyrics correctly, it is explicit in Infinity Girl's "Void."

But as stated supra, it is when Infinity Girl incorporates elements of ancillary styles such as power-pop ("Cellophane And Gold") and even emo (the startling shouts that punctuate "Cannons" also puncture the mesmerizing record's fourth wall somewhat) that the proceedings begin to take on a unique flavor, and the resulting hybrid that populates Stop Being On My Side brims with melodic and textural possibilities. Infinity Girl self-released the set via Bandcamp May 8; check out streams of "Even If" and "By Now" below. The foursome's next local live dates are at Precinct in Somerville Aug. 4 and TT The Bear's in Cambridge Aug. 30. If they can do it again like they did it last time, those shows will definitely smoke.
- Clicky Clicky Music

It's that they make it look so easy, that's what initially enticed us to approach the chaps in upstart Boston shoegaze unit Infinity Girl for an interview. With almost zero warning, the foursome issued in May a very impressive full-length debut, Stop Being On My Side, which we reviewed here last month. There were no singles and very few shows to serve as harbingers for the set, making the band's sudden leap into the vanguard of the city's expanding shoegaze scene all the more surprising. With its remarkable debut out, a personnel change brought on by the departure of founding bassist Ransom for Los Angeles, and some great live bills facing Infinity Girl in August, we thought it was high time to check in with the band, which is certainly among the most promising of Boston's current crop of startlingly good young bands. Fronter and guitarist Nolan Eley and drummer Sebastian Modak were very gracious with their time, and while we ultimately didn't learn why it is the songs seem to come so easily, we did get a feel for how the band did what it did and does what it does.

Clicky Clicky: You've just released a very good record. If you could choose another, released by anyone ever, that you wish Infinity Girl could have made itself, what would it be? And you're not allowed to say Loveless.

Nolan Eley: If I was answering this for myself I might say Emergency And I by Dismemberment Plan, but as a band we'd probably go with Daydream Nation by Sonic Youth.

Sebastian Modak: I think it would have been pretty nice to have made Yuck's recent record. Personally, I would be content with life if I had played drums on Fugazi's 13 Songs (yeah, it's a compilation, but whatever). I can't even imagine what it would feel like to play those songs live.

CC: There were very few shows and no singles leading up to the release of the record. And that's one of the things that made a big impression on me: no single, no fucking around, just a handful of shows and then BOOM, a wonderful, fully formed full-length. It reminds me of the genesis story of the Greek goddess Athena. Did Infinity Girl feel like it was important to make such a strong statement right out of the starting gate?

NE: Thank you, to be honest, it was kind of surprising how easily it happened. I think we just wanted to record the songs we had and at first we were thinking it was probably going to be a 6-track EP when we initially went into the studio. We had just learned "Void" at that point and decided trying to record it. We did a few takes that weren't that great, but listening back, the energy was so good we decided to include that on the record. Shortly after those sessions happened Seb and I wrote "By Now" and we were all like 'we have to put this on the record.' So we went into the studio and recorded that. So at this point we were sitting on 8 songs and thinking 'is this an EP or a full length?' Then "Pulling A Smile From A Drawer" happened almost on accident, I was messing around with this piano at The Record Company, it's an acoustic piano but it has electric pickups on it, so I was running it through a bunch of guitar pedals, just messing around. Thank God somebody hit the record button. Anyways, after that I got the idea to record some instrumental tracks. Those, I think, helped the record really flow together as a full length and brought it up to 11 tracks.

CC: Who does the bulk of Infinity Girl's songwriting?

NE: I've done most of the songwriting so far, but the songwriting process is evolving as we play more.

SM: [When t]he band started [it was] based around songs Nolan had already written. We were already friends and I heard him playing at a weekly songwriter's circle that some close friends of mine used to run at All Asia [in Cambridge, Mass.]. I immediately started fantasizing about how great the songs would sound, louder and with a full band. What you hear on the record is mostly from Nolan's existing songs. But as the band has evolved, so has the songwriting process. I wrote the lyrics to "By Now," while I was in Spain and sent them to Nolan while he was in China... So, it's not always just Nolan. But most of the time he'll be the one that turns our ideas into something that sounds kind of like a song.

CC: The reason I ask about songwriters is that, from a songwriting standpoint, there seems to be a tension in your music between the more pure shoegaze stuff and something like "Cellophane And Gold," which is more uptempo and has almost a punk edge, or the lyrics to the chorus of "Cannons," which is surprisingly up top of the mix and pretty emo?

NE: I think the reason for this is that most of the songs on the record did not start out as a band writing them together. I have always just written and recorded music for fun. Sometimes I would keep the songs hidden on my computer, sometimes I would put them online for my friends to hear. Creating an album with a consistent aesthetic was not my priority. I just wrote the songs how - Clicky Clicky Music

Being labeled "shoegaze" is a tricky thing for a fledgling band. On one hand you immediately catch the attention of fans of the genre, who tend to devour anything that gets tagged with the fairly lazy depiction. But on the other hand, the term is often a repellant, turning off those who had enough of the ear-piercing sound by the 48th minute of My Bloody Valentine's landmark 1991 record, Loveless. And that latter group comprises a demographic several times that of the former.

For better or worse, shoegaze is one of the first tags hung around the collective neck of Cambridge quartet Infinity Girl. Arriving pretty much out of nowhere in May with brilliant self-released full-length debut Stop Being on My Side and boasting a pretty-fucking-shoegaze-sounding moniker, the band shrugs at the label, acknowledging it with the same ease with which they unleash their furious sound, but also quickly adding that the band is more than just carefully calculated noise-pop. "It makes it sound like we're in the business of mimicking bands that existed years ago," offers drummer Sebastian Modak over lunch at Mariposa Bakery in Central Square. "We're very influenced by them, but there's more to Infinity Girl than that."

Indeed. Dreamy, blissed-out, reverb-drenched '90s rock is the foundation here, but the complexity, breadth, and layered texture of Infinity Girl's wall of sound is startling. With only a handful of low-exposure shows around Cambridge venues to their credit, they released Stop Being on My Side, an 11-track album that runs without a break, includes several instrumentals, and spans the sonic platter from whip-smart jangle-pop and sludgy slouch-rock that echoes Pavement and late-'90s Blur ("Cellophane and Gold," "Blood And Dirt") to the jaw-crushing, concrete-thick guitar work that's brought out the shoegaze obsessives ("By Now," "Please Forget"). It's music to get completely lost in.

Infinity Girl formed less than a year ago when vocalist/guitarist Nolan Eley was performing solo at Monkey Rock, a songwriter circle at All Asia Café in Central Square. With just an Orange amp and a distorted vocal mic, Eley gave a glimpse of the future on eventual Infinity Girl standout track "Please Forget." Relentless on record, Eley performed it stripped down, sounding a bit like Blur's "You're So Great." "I said 'I want to play drums on that,' " says Modak. "I was watching and thinking, 'This needs a loud band behind it.' "

Soon, the first phase of Infinity Girl was formed: former punk drummer Modak, a University of Pennsylvania transplant who grew up in Indonesia; Virginia native and Berklee College of Music's Eley on guitar and vocals; fellow Berklee student Kyle Oppenheimer, from New Hampshire, on guitar; and Andrew Ransom, of hardcore band Integrity, on bass. Having a rhythm section come from more intense music circles only enhanced Infinity Girl's fury. "A lot of the songs were written beforehand — in my bedroom on my own — last summer," says Eley. "Half of those became Infinity Girl songs. As we started playing together, the personality started getting into the sound. Sebastian's aggressive drumming, Kyle's feedback in the pedals. We started becoming more of a band."

As quickly as it came together, the band underwent a lineup change, with possibly more on the way. Ransom moved to Los Angeles to tour with Integrity full-time, replaced by the band's producer, Mitch Stewart. Modak was one of four students recently awarded a 2012 Fulbright-mtvU fellowship, and will spend a year in Botswana forming music collectives around a local brand of hip-hop called motswako, while battling the country's HIV/AIDS epidemic.

But so far, the only real obstacle Infinity Girl have faced was coming up with a band name. They eventually settled on a nod to experimental UK band Stereolab. "We didn't have a band name for three months," Eley says. "We were going through a lot of James Joyce." Adds Modak: "We had a list of names from Stereolab songs, and names from Finnegans Wake."

In the end, Infinity Girl is a perfect fit. "There's a feminine aspect, which goes against the gross, disgusting sound we have," Eley says. - The Phoenix

I’d like to be able to tell you about all the cool underground bands from whatever shitty city it is that you live in, but I can’t because 1) I don’t care, and 2) I already live in the best musical city in the country and this is what I know. That said, stay tuned for forthcoming lists of the best bands in other places, maybe, if we get around to it.

Hello there and welcome to Boston, or as we might say it in Boston, “fuck you.” You may be somewhat familiar with our city from our really-good-at-almost-winning-championships-but-not-quite-sports-teams, our army of ruggedly insufferable blue collar film dandies, or the biggest nerds from your hometowns who all go to school “near here.” Music fans will of course be familiar with our success stories, like Amanda Palmer, Soul Clap, and Passion Pit, and every other important indie band in the nineties that the kids these days are trying to sound like. But there’s a lot more to the city, like all the homespun, folksy racism. The truth is we really do have an insane wealth of musical talent here, partly from the onslaught of college kids too special to get real jobs after they graduate, and partly because many of us feel a community service obligation to atone for the elderly nutsack stain of Steven Tyler’s cumulative resume. Here are ten bands, some brand new, some longer in the tooth, that you’ll want to check out from the big Bean, as no one calls it.

Infinity Girl
Sounds like: Surfing down Mass. Ave on a tidal wave of feedback.

Makes you want to: Destroy your hearing in front of a huge stack of amps.

- Bullet Magazine


Stop Being On My Side



Stop Being On My Side is the debut album of Infinity Girl. Most of the 11 tracks were written over a period of 9 months and examine the dark places the mind can wander when suffering from undesired, self-imposed solitude. From the gloomy opening instrumental track to the last words on the record (I miss you, I can't have fun when you're around) the musical and lyrical content of the album confront the contradictory push and pull of an inherent desire for liberation and the stark reality of loneliness. Brief encounters with hope and contentment surface occasionally, only to be washed out in a tide of distortion and reverb.