Infinisynth
The main electric project of artist KarrArikh Tor, Infinisynth began in 1992, in the aftermath of Future Dialogue’s first line-up disbanding. In 1993, KarrArikh hooked up with Alex MacHein (on drums and rhythm/programming), releasing ‘Subnormal Episodes Vol. 1’ in 1993 on cassette. The following years saw tremendous growth for the band. Local radio airplay and audience numbers at live shows in North America continued to increase. Ennui Entertainment Presents (MATA 14/47 in Milwaukee, WI) requested material from the band to accompany their video series, and Infinisynth responded by finding two new back-up artists to help flesh out the sound, Kat and Kasey Tyr. The new line-up began to record their material completely live, a bold move resulting in unique audio recordings. The 95 minute Norse Epic ‘Germania Saga’ written by KarrArikh Tor was the ultimate pinnacle of this line-up’s use of MIDI programming and outboard sequencers.
A move to goth-rock on the 1996 limited run international release CD ‘Shadow and Shade’ created quite a stir; critics throughout Europe recognised the hints of Bauhaus, The Cure, and Sisters of Mercy. Goth radio programmes raved about the release and requested more from the band. The pressure of supporting the release combined with a home base move lost KarrArikh and Alex their back-up artists, Kat and Kasey Tyr. This didn’t stop Infinisynth; their hard work paid off in continued college/independent radio airplay, club airplay, and a live radio/internet simulcast in 1998.
With the new millennium came a new recording style for Infinisynth; the band was finally persuaded to use multitrack recordings on ADAT. Now with Kain leFayne joining on bass, Infinisynth created the hauntingly beautiful ‘What Remains in the Machine… ‘. Unfortunately for the band and Infinisynth fans everywhere, the year 2000 brought so many changes to Dark World that ‘What Remains in the Machine…’ received little to no attention.
After establishing a new home in Ireland, Infinisynth was persuaded to remaster some of their classic songs from the past onto two releases, ‘default’ and ‘reload’. These releases offer both new and long time fans a unique opportunity to own some Infinisynth recordings never available before on CD. Remastered tracks from the video series Ennui Entertainment Presents, ‘Shadow and Shade’, and the little noticed but brilliant ‘What Remains in the Machine… ‘ are included. Although music charts and pop stations ignored the releases, fans found them and ‘default’ has become the best selling release by Infinisynth on iTunes.
In 2010, ‘Shadow and Shade – remastered’ was released as a CD-On-Demand, and made available through CreateSpace.com and Amazon.com. The CD contains two bonus tracks, originally released on ‘Subnormal Episodes…’. In 2012, ‘What Remains in the MACHINE…’ was remastered and released as a CD-On-Demand. This CD also contains bonus tracks, two new songs recorded in 2011.
KarrArikh and Alex began writing a new release in the end of March 2012, finishing it in December. The album, Spiral Default 2013, is now available as a digital release on Wa3, iTunes, and as a physical CD through CreateSpace. Providing some of the band’s most inspirational guitar riffs melded with layered keyboards, ‘Spiral Default 2013’ is a powerhouse album that will entice and intrigue new fans as well as entirely satisfy fans of the existing Infinisynth sound. Driving rhythms, irresistible bass lines, powerful guitar riffs and masterful keyboards are the hallmarks of this astounding, momentous release.
Bizarre Fanzine, Issue 10 Webzine
Northampton, UK
“Mournful guitar orientated atmospheric rock that touches on gothic ambiences via the UK’s early 80’s groups. (Infinisynth’s) vision is bleak there isn’t much light to penetrate this all encompassing gloom. Incisive guitar work reinforces these feelings in the mould of the likes of Joy Division and the Cure. Shadow and Shade there is in abundance here but things are not totally black. We have female vocals which lift proceedings, and act as a contrast to the darker male voice. Promising.”
Appeared on Web 2002 Back Again
Germany
“Der Titel der CD “Shadow and Shade” sagt alles aus. Es ist düstere, aber sehr schöne und wavige Gothic-Musik, die meistens einigermaßen ruhig und kunstvoll daherkommt. Vielleicht auch ein bißchen einfach von der Instrumentierung, aber irgendwie schön, ganz besonders die verhallten Gitarren. Vielleicht ist düster auch garnicht der richtige Ausdruck für die Musik. Eher ist vielleicht sehr melancholisch aber irgendwie postiv richtig. Teilweise durch weiblichen und männlichen Duettgesang aufgelockert. Ganz besonders dazu angetan hat es mir die Ballade “Rain”.” -H.H.
The Glass Eye Magazine
July 97 / USA
“If it was, let’s say, 1982 during the promising uprising in Goth bands such as the Sisters of Mercy and Bauhaus, this CD would be really good… The songs take the classic gothic structure of most albums, limited electronic work in the beginning and end of songs overshadowed by basic drum and bass layouts and the reiniscent wanderings of 80’s whining guitar loops. The music is very lowkey, laid back while the contents and structure are mellow and gloomy with a soothing appeal, as the fast paced guitar work weaves you in and out of ecstasy. But the fact that it sounds too dated still holds the record down.” -Klaus Dello-Strytto
Debrabander Maxime, Programmation Director (For Radio Extra 106.9MHz)
April 1997 Mons, Belgium
“We received Infinisynth first CD…. Being an old fan of bands like The Sisters Of Mercy, Fields Of The Nephilim,… I really liked Infinisynth, and often played it (especially “Empty”) during my own emission : “The Dark Side Of Extra”, Tuesday 11.00 pm. We’re just a student radio, so our public is quite limited BUT all the “gothic” fans of the region listen to my show, and their reactions were mainly positive. Keep us informed of what you’re producing, I’m doing what I can to have it broadcast.”
Godsend Magazine / Issue #20
January 1997 USA
“A self-released album of what the band calls Gothic Indie Rock, with a basic drumbox/flanged guitar/vocal setup. I hear some classic CURE in here, a sort of upbeat introspective feel.”