Infinity Girl is an up-and-coming band that now calls Brooklyn home, but has roots in Boston. The quartet, comprised of Nolan Eley, Kyle Oppenheimer, Sebastian Modak and Mitch Stewart, formed three years ago, and released their latest LP, “Harm” back in late August. The album’s sound was partially influenced by their move from Boston to Brooklyn, and is worth a listen, particularly if you’re an introvert. The band chatted with us about the album as a whole, why their music doesn’t suck and why mastering “The Irish Exit” would be pretty cool.
Modern Vinyl: To me, Infinity Girl sounds like a superhero’s name. So, if you were a collective group of superheroes, what powers would you have?
Sebastian Modak: The ability to nullify any other competing superhero’s ability so we could talk out our differences like normal, rational people.
Kyle Oppenheimer: Invisibility would be handy. Then I’d truly be master of the Irish Exit.
(Writer’s note: If you’re dumb like me and have no idea what “The Irish Exit” is, it’s basically when you leave some sort of social gathering or event without saying goodbye to anybody.)
Mitch Stewart: I’ve always wanted to have the super power of being able to fluently speak every language and dialect in the world. I’m not sure how that power would help the rest of the world, but nonetheless, it would be pretty amazing.
Nolan Eley: I would probably get stuck with some useless power like being able to bowl a little better.
MV: You all consider Brooklyn to be your homebase now, but are originally from Boston. What are your favorite spots in both of those cities?
SM: Great Scott has become a real home to us, but there will always be a special place in my heart for the Elks Lodge where we played our first shows. Mitch and I used to live across the street from it and it features very prominently in many of my best Cambridge memories. And as far as Brooklyn goes, there are obviously so many great venues. But Palisades and Shea Stadium are definitely starting to feel like home.
KO: I’ll always have a soft spot for Cambridge/Somerville. The path along The Charles River is beautiful and I loved running there when I lived in Boston.
MS: Central Square holds a serious soft spot in my heart after living there for a few years. It’s always so nice to be able to spend time there when playing shows in Boston.
NE: I used to live near Coolidge Corner, in Boston. I definitely miss that place. In Brooklyn, one of the first places I went to after I moved here was Silent Barn and it’s still one of my favorite spots.
MV: Going along those lines, what do you like about Brooklyn over Boston? Anything you miss in Boston that Brooklyn just doesn’t seem to have a substitute for?
NE: There’s just so much happening in Brooklyn. There’s so much experimentation, so many shows, so many ideas and people that love sharing ideas. The community was awesome in Boston, but much smaller. The downside is that you can grow a little jaded or overwhelmed in Brooklyn.
MV: Let’s discuss “Harm.” It’s your first album with Topshelf Records. How did you get involved with them?
NE: We sent them the record after we finished it, not really expecting to hear back, but they listened to it and loved it and we ended up signing with them, which, I wouldn’t have believed if someone told me that a year ago.
MV: What was the recording process like for Harm, compared to some of your earlier releases?
NE: Our earlier releases were both kind of rushed and a little arbitrary. Because of circumstances, we had these kind of ridiculous deadlines to put stuff out, but this was the first record where we had time to think about the album and be very intentional from the conception to the release. We still tried to do it as cheaply as possible and do as much of it ourselves as we could. We recorded the basics in two overnight sessions with our friend, James Krivchenia, engineering. I mixed the record myself and then handed it back to James to master.
MV: The record’s been out for about a month now. How have you felt about the reception to it?
NE: It’s been pretty great. I’m always surprised/don’t believe whenever anyone says they like us or our music.
MV: Compared to your older stuff, Harm has a little bit of a different feel to it. What helped influence that sound?
NE: We always want to progress in some way from album to album, and make sure our albums are cohesive. That being said, the direction we went in, more raw and minimal, wasn’t totally arbitrary. It had a lot to do with where my head was at. There was a lot of frustration and reticence, which isn’t a great combination. Moving to New York definitely had something to do with it.
MV: Any details about upcoming tour plans? You guys have a set at the CMJ Music Marathon coming up, but what about beyond that?
NE: CMJ is going to be fun for sure. We are stoked for that. Beyond that, we have a tour for around two or three weeks pretty much booked for November which we’ll be announcing pretty soon.
MV: If you had to describe your sound to people who just don’t “get” it, in one sentence or a completely slew of words, what would that be?
NE: It’s usually easier to just concede that we suck and move on. But I suppose if I had to try and explain it…I guess I would say it is music for introverts. That the unconscionable feedback and distortion kind of acts as a shell to protect myself because I’m so gosh darn sensitive…Oh god that’s dumb…
MV: Do you have anything else you’d like to add for the readers over at Modern Vinyl?
NE: Keep buying vinyl and cassettes. Woo.
“Harm” is out now via Topshelf Records, and you can pick up a vinyl, cassette, or digital copy of the album here. Stay tuned for more news from the band about their upcoming tour happening next month, or catch them at the CMJ Music Marathon in New York City in just a few short weeks!