We’re in the midst of a shoegaze revival. The Jesus and Mary Chain‘s back at it, My Bloody Valentine too, it seems Thurston Moore never really left the building. With the greats making their way back to the spotlight, the younger generation has also found a way to our focus , seen in Zachary Cole’s print ads for Saint Laurent or Deerhunter holding stage with acts like Nine Inch Nails. The genre has been knocked as “over-privileged, self-indulgent and middle-class”, or music for part-time punks.
With the blow up of part-timers comes an avalanche of smaller bands mirroring tones of indifference with hazy lyrics and clear fondness for distorted sounds. What may seem like a copy-cat jump on the bandwagon has resulted in a parade of acts a different as Kim Gordon and Kim Deal and the lyrics they choose to sing. One of these bands is Infinity Girl, a quartet from our very hometown of Boston.
Sebastian Modak, Nolan Eley, and Kyle Oppenheimer started Infinity Girl a measly two years ago. The band formed not long after Modak, a Pennsylvania native and Berklee graduate, saw Eley performing solo in a Central Square cafe. Not long after the two joined forces came Oppenheimer, a fellow Berklee grad, along with Andrew Ransom. Mitch Stewart came as final bill change after Ransom moved to Los Angeles to tour full-time with the hardcore band Integrity.
In May of 2012 Infinity Girl released their noteworthy album, Stop Being On My Side. By August, the band was making a point to keep their album a shelf apart from other bands of such muddily categorized genre. In an interview with the Phoenix, Modak stressed the band’s influences while arguing their music as more than regurgitated work of prominent bands like My Bloody Valentine and Ride. I can’t help but agree. Take a listen and decide for yourself.
This album is all over the map. Modak was certainly right in his words to the Phoenix, as the album strikes chords of many notable influences while maintaining a sense of originality. In my own listening experience I found myself forgoing song names to label tunes “the yo la tengo song” or “the pavement song”, and a given handful to My Bloody Valentine. Despite their allegiance to the greats, Infinity Girl keeps things fresh with a chameleon-like quality. Each song on the album is different from its previous, from the whirring rhythm of “Please Forget” to “Even If”, the slow riffs and a mild drumbeat that form a strange yet welcome mix of downtrodden happiness.
Just Like Lovers, a five track EP from December 2012, mirrors the sound of early nineties London more than the band would like to let on. Not to find fault in the album. This release puts them at the forefront of Boston music, even with a newness to such longstanding shoegaze scene. As a whole, Just Like Lovers is more cohesive than the bands previous work. And more polished too, a huge rush of sounds blending together to create a sound worthy MVB’s audiences before the rise of Britpop. The youngsters of Infinity Girl recall the time of the half-punk in a way entirely modern. One fresh yet still calling for the kind of concert you’d spend contemplating your feet.