Gig Seeker Pro


Band EDM Metal


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


The best kept secret in music


"Psychaesthetic - Infinity's End"

Psychaesthetic - "Infinity's End" (CD) - Self-Released
Official Site | [Reviewed by: R[Zero] ]

Psychaesthetic is a new project out of Philadelphia, PA. I had never heard of them when I received the album for review, so I wasn't quite sure what to expect. The first track on the album, "Hedon" had a nice Futurepop sound, Very fun and dance-floor friendly. OK, another Futurepop cd, I can live with this. Well, as it turns out after listening to the whole cd, you can't really classify Psychaesthetic. This album runs the gambit of industrial sub-genres. One minute you're swaying along to the music, the next you're trying to stomp the dance-floor like it owes you money. There is something for everyone on this release. Whether you're a fan of Old School Industrial, EBM, Electro, or Synth-pop, Psychaesthetic is definitely worth a listen. - WetWorks E-zine

""Infinity's End (EP Version)" Review"

Philadelphia PA based electronic-industrial artists Psychaesthetic offer five impressive tracks on their initial release, the Infinity's End EP.  Skillfully blending guitar, vocal, and synth elements throughout the length of the disc, no single part of the greater whole overwhelms the others.  Rather, there's a deliberate symbiosis that occurs amongst the trio which translates into a very powerful aural mix.


'Sensory Tide' is an aggressive stomp with a fury-filled thrash guitar line leading the way.  The vocal work here is notable with just enough distortion to emphasize the lyrics' imperative.  'Sensory Tide' is a good start to the EP and demonstrates Psychaesthetic's knack for balancing their elements.


Heavy on synth layers, 'The Binary Age' is a club-friendly dance track topped with robotic vocal treatments.  This track may best demonstrate the capabilities of Psychaesthetic's vocalist/lyricist.


Without a doubt the highlight track of the Infinity's End EP is 'The Rains.'  It contains a foundation of very accessible dancefloor drum loops with a few change-ups to keep monotony at bay.  The incredibly infectious elements of 'The Rains' are the result of excellent synthesizer sequences paired with skilled guitar grooves.


'Hedon' ranks as the second best sequence on the EP.  This track above all others shows the leveling talent of Psychaesthetic.  Vocals, guitar, synth, and percussion are distinct without drowning one another out.  Very well constructed.


The final track of Psychaesthetic's Infinity's End EP, 'Nausea,' is a movable piece with echoing vocals and catchy guitar riffs.  Upbeat synth swells wrap up this short track quite nicely.


Psychaesthetic holds great promise - they have the essential ingedients of a solid electronic-industrial act.  It will be interesting to see where their talents take them, and to see how their sound grows into it's own space.  Their upcoming full length album Infinity's End is eagerly awaited, and based on the EP, it seems that noone will be disappointed.

"Music from the Underground - Psychaesthetic"

Philadelphia's Psychaesthetic (which will henceforth be referred to by the highly creative "PA") is a very different band for me to review here at antiMUSIC. While most of my reviews have featured artists in the hardcore/metal genres, with a few art-rockers here and there, I have not yet reviewed an industrial act. The band caught my interest when it was posted up for review, as I am just starting to be more then slightly intrigued by the electronica genre, and beyond that, the band's synth player is none other then antiMUSIC's very own Brad Podray.

Formed fairly recently in Philadelphia, Brad joined with guitarist Tom Notari and vocalist Kyle McGee to spawn the electronic act. After two years of feeling the waters, the band released Infinites End after getting to know each other's playing styles and ideas for  what the band should sound like.

The CD kicks off with the bouncy "Hedon." It swirls in with some awesome layered effects, and McGee's vocals reminded me why I found electronica bands so interesting in the first place recently. "Talion" jots in with some echoing percussions and then some nice industrial beats and a driving, distorted riff or two. Some weird effect sound almost orchestrated like violins as the vocals twist in and out with that classic Industrial anguish. Later on Notari closes with some riffs that cascade all over the place and the song ends without warning, leaving you craving more. 

"A Polemic" is a more conventionally based song. It features less on the electronica end of the spectrum and more on the rock end of things. The song goes from brooding guitars to driving rhythms with a subtle industrial undertone. This song rules. 

"Minefield" has one of those sputtering vocal effects and stop-start riffs that are every bit as sudden as the song's title might suggest; the electronics are so well-layered this track that the on-off guitar are like stepping on mines that explode without any hint that they're there. This song reminds me of what little KMFDM I've had the luck to hear. 

"Aura" has crystaline beats and swirls that sound like a more introverted (if possible) Postal Service. The guitar next slithers in with a slow crescendo of old-school metal schooling. One of the best instrumentals I have yet heard in this genre. 

"The Rains" is factory made industrial that just plain rules. "Rising" has McGee doing some sinister whisperings as his fellow bandmates swirl their synth and guitars into a cohesive mix of jingling electronica. 

"Sensory Tide" has a conventional guitar intro that soon is overtaken into a duel with some excellent percussion. "Navsea" manages to sound watery yet icy at the same time, as beats and rhythms maelstrom around one another before solidifying into another awesome backbeat for those great vocals. 

"Viral Sunrise" is an electronica heavy song that is pretty spooky in that good old Orgy kind of way perhaps. "The Binary Age" closes things with some more bouncy, robotic, and damn smooth electronica/industrial.

This CD was a strange one for me. As I said earlier, my recent flirtation with industrial is fairly small and brief....however, Psychaesthetic should be listenable to all kinds of music fans. Those robotic and monotone beats are littered with random riffs and effects that should make both fans of the genre and noobs like myself happy. The lyrics are awesome, and like many acts I have heard in this style, take on an almost mechanical overtone ("The Future is a number stored in the mind"). 

All in all, I would for sure recommend it to people looking for something catchy yet, in typical fashion of this website, ANTI. It is every bit as fun to rave to or DDR to, as typical industrial stereotypes might suggest, but there is much more then a dancefloor beat on this CD. I already am excited about another one. - antiMUSIC

"Psychaesthetic - Infinity's End"

Philadelphia's Psychaesthetic wields a number of electro/industrial sub-genres effectively on their debut, Infinity's End. The tro (vocalist/lyricist Kyle McGee, guitarist Tom Notari, multi-instrumentalist Brad Podray) can thrash with Tool-like abandon ("A Polemic"), terrorize like Trent Reznor with a rave hangover ("Viral Sunrise", "Minefield"), or pulse and throb with a Skinny Puppy brutality ("Hedon", "The Rains"). Perhaps more surprisingly, Psychaesthetic is just as capable of delivering a more thoughtful, introverted and melodic synthpop vibe, which they do for entire tracks ("Aura") or at select moments throughout the songs on Infinity's End. McGee's dark and somber wordplay on Infinity's End stems more from his literary influences; Roger Waters and Legendary Pink Dots' Edward Ka-Spel are his only avowed musical influences, overwhelmed on a list that includes Baudelaire, Sartre, Rimbaud, and Nietzsche. Psychaesthetic's secret weapon on Infinity's End may well be producer Dan Dolan, who works with sound the way a skilled painter works with oils, layering textures and moods, alternating lights and darks, balancing the pervasiveness of the synth with the intermittent attack of the guitar. The problem with most industrial music is the unrelenting sameness of the presentation, but Psychaesthetic clearly understands the importance of variety and diversity within their chosen field. - StereoType Magazine


Infinity's End (EP Version) sent to select radio stations and publications, received airplay and was met with very positive sentiments.

Infinity's End (LP Version) released July 23rd. Release party: "The Terminal Light" in Philadelphia.

Tracks from Infinity's End are played on college radio RPM shows across the nation, and copies have been sold in as many as 16 foreign nations.


Feeling a bit camera shy



Psychaesthetic is a three-piece hard electronic rock act currently based in Philadelphia, Pennsylvania. The sound incorporates heavy melodic and dissonant synthesis, electronic percussion, frequently intricate guitar work that comes off as simultaneously catchy and gritty, and oft-distorted vocals, though the band's breadth can be heard clearly throughout the work. Dynamic not just throughout the body of work, but even within a single track, Psychaesthetic has worked hard to attain a specific sound that can only be attributed to them, all while focusing on further sonic progression.

Eclectic influences help to drive the band in new directions. Synthesist Brad Podray comes from Florida with 10 years of formal classical and jazz piano training, not including 7 years of writing original material. Industrial rock like KMFDM and Ministry, EBM like VNV Nation and Project Pitchfork, and hard rock like The Gathering and Therion help to fuel his drive.
Guitarist Tom Notari brings to the table many six-string demigods as influences, including Steve Vai, Slash, and Eddie Van Halen. Their intricate work has been a constant influence on Tom, from learning to play at the age of 12 on through the development of his personal style and finally to the incorporation of his style to Psychaesthetic's synth-driven sound.
Vocalist Kyle McGee holds more poets and authors as influences rather than singers or songwriters. Kyle's biggest poetical influences include Samuel Taylor Coleridge, Charles Baudelaire, and Arthur Rimbaud. As for lyricists, it is primarily Roger Waters of Pink Floyd fame that influences Kyle. Philosophers Jean-Paul Sartre, Friedrich Nietzsche, Immanuel Kant, Albert Camus, and Karl Jaspers have influenced Kyle in innumerable ways.


Please visit for commentary, additional downloads, and information.