British producer Nathan Fake makes his return with two new singles: “Bialystok” and “The Ice House.”  → Listen

With “Bialystok” Nathan Fake channels the warmth and immediacy of his early work while introducing a new sense of emotional precision. The track opens with a garage-house beat, driven by a descending-tone kick that fuels a raw, almost primitive energy. A sharp snare, reminiscent of electronic maracas, shapes the rhythm, while scattered melodic notes shimmer like ice bubbles. The result is a sound thatis subtle, propulsive, and radiant, revealing Fake at the height of his craft.

Paired with “Bialystok,” the second single, “The Ice House” unfolds a luminous palette of FM synthesizers, crystalline arpeggios, and a clear, resonant bass. Together, the two tracks outline the sonic identity of the new album, conceived as airy, daytime, and melodic.

The two excerpts are from Nathan Fake’s upcoming album Evaporator, due to be released on InFiné.

Composed, produced, performed and mixed by Nathan Fake
Mastered by Lorenzo Targhetta

—

Fake’s comeback also marks a new set of live shows.

TOUR DATES

03.12.25 – Kantine am Berghain, Berlin – Germany

15.01.26 – MAIN ROOM, Paris – France

06.03.26 – Circolo Magnolia, Milan – Italy

07.03.26 – Monk Club, Rome – Italy

The tickets will go live on Tuesday 25th

More about Nathan Fake

Between electronic fever and urban melancholy, “Briller dans la nuit”  captures the hazy poetry of youth adrift — broke, sleepless, and chasing euphoria through the glow of club lights. → Listen / Watch the music video

Frànçois & The Atlas Mountains paint the portrait of those fleeting years when nights stretch endlessly and music keeps the ghosts at bay. Frànçois Marry and Laure Sanchez trade verses over a pulsing, slow-burning rhythm, equal parts dance and reverie — interwoven with Emile Papandréou’s subtle electronic textures (UTO / InFiné). Somewhere between intimacy and abandon, the track celebrates that fragile spark that refuses to fade — a hymn to the dreamers who keep moving, who keep shining through the night.

Out November 12th, “Briller dans la nuit” is the second single from Halage, following “L’Homme à la Rivière”— Frànçois’ very own Nick Drake rework, released in September. The forthcoming album by Frànçois & The Atlas Mountains will be released in April 2026 on InFiné.

© Music Video, written and directed by Helio Pu
Featuring Calixte Broisin Doutaz and Christophe Paou
Label – InFiné
Management – Fortune MGMT
Executive Production – Fin Août début Septembre, Inès Riera and Henry Jean
Director of Photography – Chloe Terren
Music co-produced with Emile Papandreou
Mix, Master by Lorenzo Targhetta and Benoit Bel
Backing vocals : Laure Sanchez

More about Frànçois & The Atlas Mountains

Felix Antonio debuts on InFiné with the luminous folk-pop ballad “Waiting for the Sun to Rise”. → Listen

French label InFiné welcomes Felix Antonio with his first single, “Waiting for the Sun to Rise”,  a warm, intimate, and hopeful folk-pop ballad that captures the quiet power of staying close through solitude, doubt, and distance, until the first light of a new day appears.

Built on delicate layers of acoustic guitar and mandolin, supported by gentle bass and mid-tempo drums, and punctuated with subtle piano notes, the song unfolds into something both tender and solemn before opening into an airy, almost cinematic soundscape.

Antonio’s voice begins fragile and intimate, gradually rising into a refrain filled with luminous resolve “I’ll be waiting for the sun to rise.”
It’s a mantra of endurance and love that feels both deeply personal and quietly universal.

Echoing the emotional landscapes of Bon Iver, the romantic intensity of Tamino, the ethereal textures of Sombr, and the lyrical honesty of Phoebe Bridgers, “Waiting for the Sun to Rise” stands as a comforting and cathartic ode,  an invitation to believe in the silent strength of waiting together for the light.

More about Felix Antonio

NATHAN FAKE

InFiné is thrilled to announce its first collaboration with Nathan Fake, a cornerstone of UK electronic music. For over two decades, the Norfolk-born artist has fused the organic with the synthetic, transforming analogue machines and “ancient” software into vessels of raw emotional intensity.

From his breakthrough Drowning in a Sea of Love on Border Community to acclaimed releases on Ninja Tune and his own Cambria Instruments imprint, Fake has continually redefined the boundaries of techno, IDM, and rave psychedelia. His live shows are celebrated for their immersive sound design and ever-shifting rhythmic structures, a perfect fit for the Kantine’s intimate yet powerful setting.

COCO EM

Sharing the bill, Coco Em embodies the new wave of East African electronic music. A DJ, producer, and founder of the Nairobi-based womxn collective Sim Sima, she blends Afro house, kuduro, Lingala, and global club sounds into an electrifying fusion. Her debut EP Kilumi (2022) drew praise from Mixmag, Bandcamp, and Dazed, who hailed her as one of Africa’s most exciting electronic voices. On stage, her sets radiate joy and defiance, transforming the dancefloor into a space of celebration and empowerment.

Kantine am Berghain – 70 Am Wriezener Bahnhof;  10243 Berlin

Frieder Nagel unveils Who Knows, a striking new single featuring Daniel Brandt (Brandt Brauer Frick), where cinematic tension meets hypnotic electronics. → Listen

With “Who Knows,” Frieder Nagel continues his bold sonic journey, this time joining forces with Daniel Brandt: producer, drummer and co-founder of Brandt Brauer Frick. Together they deliver a track that pulses with unease and intensity: menacing Moog textures, sweeping strings, and sharp rhythmic tension conjure an atmosphere that feels both cinematic and deeply human.

The single arrives with two alternate takes: a concise radio edit and a beatless version highlighting Nagel’s meticulous sound design, revealing new layers of the composition’s hypnotic character.

Nagel and Brandt’s collaboration began in 2019 when Frieder directed Brandt’s “Flamingo” video for Erased Tapes. The pair later co-created a dance opera with Japanese choreographer Fukiko Takase, premiering at the Gluck Festspiele in Berlin. “Who Knows” captures that same creative spark: the meeting of Brandt’s restless, percussive drive and Nagel’s introspective melodic world.

“We’re total opposites,” says Nagel. “Daniel thrives on movement and rhythm; I live quietly in the woods, focused on introspection and melody. It’s that contrast that fuels the music.”

Following his acclaimed single “Do As I Please,” “Who Knows” marks another step in Nagel’s evolution  moving away from downtempo roots toward raw, forward-looking electronic landscapes that blur the line between club music and immersive sound art.

More about Frieder Nagel 

Born in Normandy in 2001, Felix Antonio was immersed in music from an early age, thanks to this music-loving father. He even joined a choir as a young boy.

This musical journey continued when he learned to play the clarinet, piano, and guitar, while his teenage years were influenced by the discovery of new wave, Britpop, and folk. At 17, he moved to Paris and formed the indie pop band Silk Skin Lovers. The group found success with several million streams worldwide before disbanding in 2023.

Just a few years older than Sombr, Felix (a devoted Phoebe Bridgers fan) is now stepping into the spotlight as a solo artist, revealing his full range as a singer-songwriter and performer. Early in 2024, he independently released his debut EP, Simpler Times.

Across seven tracks, he unveils a delicate and sensitive world, his voice recalling the sweet tones of Bon Iver and Tamino. These early songs quickly marked him as an exceptional talent, catching the attention of the InFiné label with the depth of his songwriting and the healing power of his melodies.

Together, they’ve embarked on a long journey, one that aims to share the restorative beauty of Felix Antonio’s music with the world.

More about Félix Antonio 

Julianna Barwick and Mary Lattimore share “Melted Moon”, the second single from their upcoming album ‘Tragic Magic’, which will be supported by live dates in North America, UK and Europe in 2026, also announced today. → Listen

More about Julianna Barwick et Mary Lattimore

Vanessa Wagner releases The Complete Piano Etudes, an ambitious new album with all of Philip Glass’ Etudes → Listen

“One of the most captivating and awe-inducing pianists in France” according to Libération, Vanessa Wagner has established herself as a major influence in the classical music scene, crossing borders and blazing inspiring trails. Alongside countless hours performing minimalist repertoires live, Wagner felt an urgent artistic calling: to record in full one of the great contemporary landmarks bridging the musical legacies of the 20th and 21st centuries, the twenty piano Études of Philip Glass.

About Philip Glass’ Etudes

The first ten Études grew from Glass’s wish to confront his own “technical shortcomings.”  In the second volume, Glass intensifies his exploration of musical language, venturing deeper into complex rhythmic structures and harmonic innovation. These Études seem envisioned for an imaginary virtuoso, a pianist capable of unlocking their full expressive potential. Indeed, Glass himself rarely performed the works from this second collection in public.

Pedagogical roots, a thread connecting Wagner to Glass

The thread connecting Wagner to Glass emerges from shared philosophical and pedagogical roots. In his memoir Words Without Music, Glass reflects upon Nadia Boulanger’s teaching in Paris. Boulanger instilled in her students a rigorous yet open-minded discipline, one that embraced innovation while honoring classical tradition. It’s this same tension between structure and freedom that Wagner now channels, transforming Glass’s Études into a living dialogue between past and present.

A new turning point for Vanessa Wagner

“My relationship to these Études is continuously evolving, shaped by the ebb and flow of my personal life, my shifting moods, and my accumulated experience performing them over the years,” Wagner reflects. “These pieces become lifelong companions, growing, maturing, and resonating ever more deeply within me.” For Wagner, who had previously recorded several Études individually, this complete cycle marks a new turning point. Capturing the full breadth of Glass’s work has revealed its radical coherence and emotional scope, offering her both a deeper understanding of his language and a renewed sense of artistic clarity.

Tour dates

Order the 4 LP box set

More about Vanessa Wagner

Back in 2006, the French label InFiné started stitching unlikely threads between classical music and club culture, laying early groundwork for what would come to be called “new-classical” — a “new” that felt hybrid and forward-looking rather than the narrower “neo.” The wager was simple: treat the studio like an instrument and let composition, production, and performance bleed into each other.

By early 2007, kindred spirits at Erased Tapes were formalizing a similar impulse in the UK, crystallizing experiments that had flickered across ECM releases and artists like Aphex Twin, Philip Glass, and Brian Eno. The vision also nods to Glenn Gould, the Canadian pianist who famously embraced the studio’s power to do what the concert hall could not, a perfectionism that quietly rewired modern recording practice.

InFiné’s first catalog statement set the tone. Fresh from winning the Orléans International Piano Competition, Francesco Tristano recorded his first “non-classical” album for the label: a piano-centered set elevated by Murcof’s sonic alchemy and folding in Autechre, Pascal Dusapin, Jeff Mills, and Tristano himself.

Two years later, in October 2008, the label staged a landmark at the Philharmonie de Paris: Detroit icon Carl Craig with the orchestra Les Siècles under François-Xavier Roth, Tristano’s arrangements, and the discreet touch of Berlin techno pioneer Moritz von Oswald, a bridge between symphonic muscle and machine pulse.

Since then, InFiné has kept walking that ridgeline with artists such as pianists Bruce Brubaker and Vanessa Wagner, cellist Gaspar Claus, percussionist Lucie Antunes, producers Rone, Arandel, Murcof, Labelle, and more recently Japan’s Kaito. In June 2021, Rone’s repertoire, arranged by Romain Allender, took over Lyon with a 90-piece orchestra and choir; the LOOPING project has since sold out philharmonic halls across France and Europe.

In 2019, the label launched a singular series with Paris’s Musée de la Musique, inviting contemporary musicians to “play” the museum’s historic instruments — not as relics, but as living tools. After albums devoted to Bach and to guitars, new chapters focused on harps and the oud are slated for 2025 and 2026. In 2024, InFiné also teamed with IRCAM on a program that fuses research and art: Murcof inaugurates the line with a 360° project spanning an album, ambisonic live performance, and soon, VR.

InFiné’s third and most recent collaboration with Musée de le Musique was for Mary Lattimore and Julianna Barwick‘s upcoming project, continuing a shared mission to bridge historical instrumentation with contemporary innovation.  “We were so lucky to have access to this experience. There was a lot of reverence, working with people with such warmth and enthusiasm, bringing these instruments into a modern context, literally taken off the shelves of the museum,” says Lattimore. “We wanted to honor the past while making music that we feel is a true expression of ourselves,” adds Barwick.

On October 10th, Vanessa Wagner will release Complete Piano Etudes (Philip Glass) as a special 4-LP box set, a format that underscores its significance as a cornerstone for both the pianist and InFiné. Each Étude forms a distinct musical world, complete in itself. But heard as a whole, the cycle unfolds with remarkable depth: motifs and resonances weave through the pieces, revealing a vast emotional architecture where each work amplifies the others, enriching the collection’s overall meaning.

Nearly twenty years in, InFiné remains refreshingly uninterested in borders — geographic or stylistic. True to its roots yet restless by design, the label continues to operate as a laboratory where innovation serves listeners who like their music curious, porous, and resolutely modern.

—

FR

En 2006, le label français InFiné établit des connexions inédites entre les musiques classiques et les musiques électroniques, devenant le précurseur d’un genre désormais connu sous le nom de « new-classical » (« new » plus hybride et innovant préféré à un « néo » plus limité).

Cette audace ouvre de nouveaux horizons dans la création sonore, influençant autant la production que la composition et l’interprétation. Début 2007, en Angleterre, le label Erased Tapes suit une voie similaire, structurant les expérimentations jusque-là éparses de labels comme ECM ou d’artistes tels qu’Aphex Twin, Philip Glass et Brian Eno. Sans oublier le visionnaire pianiste canadien Glenn Gould qui considérait le studio comme un instrument à part entière, offrant des possibilités impossibles en concert et dont le perfectionnisme a influencé les pratiques modernes de production sonore.

Le premier album du catalogue indiquait la direction prise. Francesco Tristano lauréat du Concours international de piano d’Orléans enregistre chez InFiné son premier album « non classique ». Autour d’un piano, au son sublimé par le magicien Murcof, se retrouvent des pièces d’Autechre, Pascal Dusapin, Jeff Mills ou Tristano lui-même.

2 ans plus tard, en octobre 2008 la scène de la Philharmonie de Paris accueille le premier grand événement live de la vie du label. Un projet, entamé quatre ans auparavant, réunit l’orchestre Les Siècles sous la direction du chef François-Xavier Roth et Carl Craig. Les œuvres du légendaire producteur de Detroit sont arrangées pour l’orchestre par Francesco Tristano, avec la complicité de l’Allemand Moritz Von Oswald, pionnier de l’arrivée de la techno à Berlin.

InFiné n’a cessé de suivre cette ligne de crête avec des artistes comme les pianistes Bruce Brubaker ou Vanessa Wagner, le violoncelliste Gaspar Claus, la percussionniste Lucie Antunes, les producteurs Rone, Arandel, le mexicain Murcof ou Labelle ou plus récemment le japonais Kaito.

Juin 2021, le répertoire de Rone est interprété par un orchestre de 90 musiciens et un chœur à Lyon. Ce projet, porté par les arrangements de Romain Allender, a réuni sur scène l’Orchestre National de Lyon et Rone. Depuis, Looping triomphe à guichets fermés dans les philharmonies en France et en Europe.

En 2019, InFiné inaugure une collection unique dans le monde qui invite des musiciens contemporains à « jouer » les instruments du musée national de la musique (à la Philharmonie de Paris). Deux premiers disques ont été édités permettant à des artistes vivant de créer et faire vivre des instruments exceptionnels tant par leurs histoires que leurs qualités musicales. Après le répertoire de Bach et les guitares, deux opus sont en cours de préparation pour 2025 et 2026 l’un autour des harpes l’autre autour du oud.

Dans ce même esprit, en 2024  InFiné a donné naissance avec l’IRCAM à une série qui contribue à renforcer la visibilité internationale de cette précieuse “exception culturelle française”, où recherche et art ne font qu’un. Premier volume avec Murcof et un projet 360° autant album, que performance audiovisuelle en ambisonie et bientôt projet en VR.

La troisième et plus récente collaboration d’InFiné avec le Musée de la Musique concerne le projet à venir de Mary Lattimore et Julianna Barwick, poursuivant une mission commune : faire le lien entre l’instrumentation historique et l’innovation contemporaine. « Nous avons eu énormément de chance de pouvoir vivre cette expérience. Il y avait beaucoup de respect et de bienveillance dans ce travail avec des personnes passionnées, qui nous ont aidées à faire revivre ces instruments dans un contexte moderne, littéralement sortis des étagères du musée », explique Lattimore. « Nous voulions honorer le passé tout en créant une musique qui soit une véritable expression de nous-mêmes », ajoute Barwick.

Le 10 octobre, Vanessa Wagner sortira Complete Piano Etudes (Philip Glass) dans un coffret spécial 4 vinyles, un format qui souligne l’importance de cette œuvre, à la fois pour la pianiste et pour InFiné. Chaque Étude forme un univers musical distinct, complet en soi. Mais écouté dans son ensemble, le cycle déploie une profondeur remarquable : motifs et résonances s’entrelacent d’une pièce à l’autre, révélant une architecture émotionnelle vaste, où chaque œuvre amplifie les autres et enrichit la signification globale de la collection.

Depuis près de 20 ans, InFiné se distingue par sa liberté avec les frontières musicales. Fidèle à l’héritage historique, InFiné s’affirme comme un laboratoire où innovation et créativité se conjuguent au service des auditeurs curieux. À travers ses dialogues audacieux, InFiné dépasse les frontières, qu’elles soient géographiques ou stylistiques, pour repousser les limites de l’expérience musicale.

Léonie Pernet unveils Acid Niger (Gael Rakotondrabe Rework), a sensitive and intimate reinterpretation of one of the standout tracks from her 2025 album Poèmes Pulvérisés.

→ Listen

The piece distills Leonie Pernet’s art of nuance into a hushed reverie: melancholic, reflective, sentimental, and deeply emotional. Guided by the lyric “We dream of love / a temple for the misfits”, she sketches a sanctuary for outsiders and dreamers, a fragile refuge far from violence.

For this new version, she turned to longtime collaborator Gael Rakotondrabe (known for his work with CocoRosie, Anohni, David Byrne, and Woodkid). With finesse and restraint, he reshapes the electronic textures of the original, reveals its hidden harmonics, and leads the song toward a luminous conclusion: a solo piano coda, tinged with jazz and marked by a quiet but undeniable intensity. The result is not only a rework, but a dialogue between two artistic voices that expand the emotional landscape of the original piece.

The release is accompanied by an innovative video directed by Delphine Diallo, another trusted collaborator of Leonie. Crafted using AI-generated images, the video unfolds like a visual poem, blending more than 60 animated tableaux that evoke sacred landscapes of Niger, imagined somewhere between reality and dream. Each frame is meticulously constructed, immersing the viewer in a surreal and powerful cinematic experience that mirrors the themes of the song.

More about Leonie Pernet

Longtime friends and collaborators Julianna Barwick and Mary Lattimore, two of ambient and experimental music’s most revered voices, unite their singular talents on an ethereal new single, “Perpetual Adoration.”

→ Listen

More about Julianna Barwick et Mary Lattimore

A refined continuation of their singular world, O’o’s brand new EP More Wishes, Less Bones features five new original songs and two beautifully reimagined covers, offering a deeper dive into the duo’s poetic and dreamlike sensibilities.  → Listen

On this EP, the singer and lyricist Victoria Suter’s natural affinity with la chanson française meets with Mathieu Daubigné’s artfully-crafted electronica. O’o take us on a trip into their thoughtful, idiosyncratic world, where plant-like organisms glisten and catch the eye (Lichen) and estranged former lovers turn up out of the blue and remind us how easy it is to become distant from the people who were once so important (Stranger). Maybe, too, explores a suspended moment in time just before one takes the plunge in a relationship as things get more serious.

The duo tackle the Great French Songbook, including La Mésange, a deep cut from Françoise Hardy: “The melody feels like a bird in flight – an animal dear to us!” says Victoria. “Unpredictable, unsettling, complex.” Qui me délivrera? meanwhile is an obscure number by the forgotten chanteuse Nicole Louvier.

The result is an unmistakable addition to the evolving O’o canon, a collection that not only deepens their signature blend of intimacy and experimentation but also affirms their place as one of the most distinctive voices in today’s music landscape.

More about O’o

After swimming upstream with Âge Fleuve, François & The Atlas Mountains unveils a new tributary of his universe: “L’Homme à la Rivière” featuring Yasmine Hamdan → Listen

A pivotal single, following in the wake of Âge Fleuve, this track is a creative reimagining in French of “River Man”, the cult jewel by Nick Drake, first released in 1969 on his debut album Five Leaves Left. Though his work remained confidential until his death, Nick Drake is now recognized as one of the major and timeless figures of English folk.

François offers a poetic and contemporary translation, where themes of freedom, solidarity, and inner exploration are revealed in French. For this journey, he invited Lebanese singer Yasmine Hamdan, pioneer of the independent Middle Eastern scene with Soapkills and internationally acclaimed for her albums Ya Nass (2013) and Al Jamilat (2017).

“Her voice, full of languid arabesques, makes me think of a flowing river. Here, she helps reveal a little more of the identity of this strange character in Nick Drake’s original song. This River Man – who is he? A guide? A sage? A madman? The mystery remains. I like to think he is a great contemplative.” adds François.

More about Frànçois & The Atlas Mountains

Vanessa Wagner releases “Etude No.8” from her new upcoming album “The Complete Piano Études” along with the first installment of the album → Listen

”After more than three decades dedicated to interpreting the classical canon, discovering Philip Glass’s music has, in a profound sense, reshaped my identity as a musician”, confesses Vanessa Wagner.

Vanessa Wagner’s interpretation of Philip Glass’s “Étude No. 8” captures the romantic introspection and reflective depth inherent in Glass’s minimalist masterpiece. Known for her boundary-crossing collaborations and sensitive piano artistry, Wagner brings emotional clarity and nuanced expression to this elegant and medium-tempo étude.

Her rendition is a heartfelt exploration of Glass’s profound musical language, balancing technical finesse with tender emotional resonance. Following acclaimed performances and recordings of contemporary minimalist repertoire, including celebrated collaborations with artists like Murcof and Rone, Wagner once again proves her exceptional ability to uncover the poetry at the heart of Glass’s work.

You can now listen to the first installement of the album, the full recording to be released on 10/10.

Tour dates

Pre-order the 4 LP box set

More about Vanessa Wagner

Today, Murcof unveils Twin Color (Extended Play No. 2), the EP that continues to push the limits of the Twin Color soundscape. → Listen 

More about Murcof 

“Maybe”, the second single from O’o’s upcoming new album “More Wishes, Less Bones” is now out.

→ Listen

With More Wishes, Less Bones, O’o offers a captivating new album that unfolds with five poetic and dreamlike tracks, along with two elegantly reimagined covers. A new chapter in their musical exploration, deeply connected to the singular universe of their previous work.

“Maybe” explores a suspended moment in time just before one takes the plunge in a relationship as things get more serious. The pulsating dance music compliments the
narrative, with thoughts swirling around the head like a disco ball.

More about O’o

Vanessa Wagner releases “Etude No.2” from her new upcoming album → Listen

”After more than three decades dedicated to interpreting the classical canon, discovering Philip Glass’s music has, in a profound sense, reshaped my identity as a musician”, confesses Vanessa Wagner.

Vanessa Wagner unveils her luminous interpretation of Philip Glass’s Etude No. 2, a work built on gently cascading arpeggios and infused with meditative depth. Her performance brings out the piece’s reflective beauty—at once expansive, intimate, and quietly romantic.

The official video, directed by Laurent Pernot, weaves together archival amateur films from various eras and regions, unified by their shared evocation of joy and freedom. These fleeting scenes—ephemeral yet timeless, personal yet universal—emerge from the smoke and dissolve like memories lost to time.

Watch the video

Tour dates

Pre-order the 4 LP box set

More about Vanessa Wagner

Mexican composer and producer Fernando Corona, aka Murcof, returns with new single “Like Halloween Part II” and announces new EP

→ Listen

→ Pre-save the new EP 

Murcof is following up on his latest album “Twin Color”, with a new addition to his repertoire, “Twin Color (Extended Play No. 2).”

In “Like Halloween Part II”, the first single, Murcof crafts his own eerie soundtrack in two movements, inspired as much by horror cult classics as by Kubrick’s epic universe. It’s an anxious yet compelling symphony of technological abstraction, resonating somewhere between shadowy dance floors and cerebral sound installations.

More about Murcof 

For an independent label founded in the early 2000s, and inspired by the aesthetics of labels like Ninja Tune, Warp, ECM, or Chain Reaction, the term “pop” once felt intimidating. This musical genre, which absorbs all current trends to create stadium stars, seemed far from our radical experiments and our love for club culture.

But InFiné is a label nourished by encounters and emotions. We build our catalog impressionistically, following the encounters along our path, each touch bringing to life dreams fueled by a bit of madness and a shared thirst for discovery and originality. More than twelve years ago (2013), Bachar Mar-Khalifé, the first singer to cross our path, told us he became one accidentally and only for a few tracks he would neither perform live nor elsewhere. In the end, we made three albums with him, and he paved the way for others.

Having become essential in many productions, the voice instrument gradually found its way into our work. Little by little, words — from artists coming from increasingly distant musical horizons — found their place in our home. They illuminate the hybrid musical materials we cherish, enriching our emotional palette through folk and urban music.

Today, we dare to say the word “Pop” without hesitation. Since our still modest in-house compilation If We Pop, released in summer 2013, our demand remains the same: we seek uniqueness and explore the limits of the genre in our own way and with enthusiasm. So, where to begin?

Léonie Pernet? We supported this accomplished musician, who plays drums, piano, and percussion, as she moved toward progressive and mutating synthpop, where her words blossomed, shifting from English to French to deliver deep and poetic messages.

UTO, this sonic burst of energy, captures snapshots of indie rock and 2000s electronic music while rejecting the excesses of Hyperpop. Their emancipated songwriting is inventing abrasive dance-rock that forges hits for the future.

Or François & the Atlas Mountains? He marks a new stage for InFiné; he’s the house’s friend who decided to settle in with his bittersweet poetry and summery melodies.

Have you heard Victoria’s exceptional voice blend with Mathieu’s precise productions? Don’t be intimidated by their unpronounceable band name—dive into the timeless electronica pop of O’o – the band.

Cindy Pooch draws magic from within to nourish her songs, where the daily life of a Franco-Cameroonian merges with the mystical and therapeutic depth of her voice.

With Sabrina Bellaouel, it’s urban music, unapologetic female power, and an oriental festive groove that shape one of the most singular modern alternative R&B albums of recent years.

Blick Bassy sings in Bassa, one of the languages of his native Cameroon. His fable-like songs, carried by his high and angelic voice, testify to a contemporary African identity at the crossroads of folk and electro.

With all these artists, we create our own definition of “pop”, far from clichés. Discover it in our new playlist InFiné Pop.

#MusicActivists
#MusicIsTheCure

—

FR

Pour un label indépendant fondé au début des années 2000, et nourri par l’esthétique de labels tels que Ninja Tune, Warp, ECM, ou Chain Reaction, le terme « pop » semblait effrayant. Ce genre musical, qui digère toutes les tendances musicales du moment pour créer des stars de stade, paraissait bien loin de nos expérimentations radicales et de notre amour pour la culture des clubs.

Mais voilà, InFiné est un label nourri de rencontres et d’émotions. Nous construisons notre catalogue de façon impressionniste, au gré des rencontres qui jalonnent notre route, chaque touche donne vie à des rêves animés par un brin de folie et une soif commune de découvertes et d’inédit. Il y a plus de douze ans (2013), Bachar Mar-Khalifé, le premier chanteur qui a croisé notre route nous a dit l’avoir été par accident, et uniquement pour quelques titres qu’il ne défendrait ni sur scène ni ailleurs. Finalement, nous avons fait trois albums avec lui et il a ouvert la voie à d’autres. 

Devenu nécessaire dans de nombreuses productions, l’instrument voix s’est immiscée dans nos productions. Peu à peu, les mots – ceux d’artistes venus d’horizons musicaux de plus en plus lointains – ont trouvé leur place dans notre maison. Ils éclairent ces matériaux musicaux hybrides que nous affectionnons, nous permettant d’enrichir notre palette d’émotions du côté de la folk ou des musiques urbaines.

Aujourd’hui, InFiné ose prononcer le mot « Pop » sans complexe. Depuis notre encore timide compilation maison « If We Pop », sortie en été 2013, notre exigence reste la même : nous recherchons les singularités et explorons les limites du genre à notre façon et avec gourmandise. Alors, par où commencer ?

Léonie Pernet ? Nous avons accompagné la musicienne accomplie, qui joue de la batterie, du piano et des percussions, vers cette synthpop progressive et mutante, où ses mots se sont épanouis, passant de l’anglais au français pour délivrer des messages profonds et poétiques.

UTO, cette décharge d’énergie sonore qui collectionne des instantanés de rock indé et de musique électronique des années 2000, tout en refusant les excès de l’Hyperpop. Leur songwriting émancipé est en train d’inventer un dance-rock abrasif qui forge des tubes pour le futur.

Ou François & the Atlas Mountains ? Il marque une nouvelle étape pour InFiné ; c’est l’ami de la maison qui a décidé de s’y installer avec sa poésie aigre-douce et ses mélodies estivales.

Avez-vous déjà écouté la voix exceptionnelle de Victoria se mêler aux productions millimétrées de Mathieu ? Ne vous laissez pas impressionner par ce nom de groupe imprononçable et embarquez dans l’intemporelle pop electronica de « O’o – the band ».

Cindy Pooch puise une magie en elle pour nourrir ses chansons dans lesquelles le quotidien d’une Franco-Camerounaise se mêlent à la profondeur mystique et thérapeutique de sa voix.

Avec Sabrina Bellaouel, ce sont les musiques urbaines, le female power assumé et un groove festif oriental qui forment l’un des albums de R&B alternatif moderne les plus singulier de ces dernières années.

Blick Bassy chante le bassa, l’une des langues de son Cameroun d’origine. Des chansons fables, portées par sa voix haute et angélique, qui témoignent d’une africanité contemporaine au croisement de la folk et de l’électro.

Grâce à tous ces artistes, nous créons notre propre définition de la “pop”, bien loin des clichés. Découvrez-la dans notre nouvelle playlist “InFiné Pop”. 

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Léonie Pernet’s highly-awaited album “Poèmes Pulvérisés” is out now → Listen / Order

Upon stumbling upon René Char’s line “I took my head as one takes a lump of salt and literally pulverised it.” Léonie Pernet was led to “Poème Pulvérisé”, a 1945 collection by the French poet and resistance fighter. Inspired by his text,  she named her album “Poèmes Pulvérisés”. The full collection of her scattered poems is out now.

A crossroads of continents, the album links the limestone skies of her childhood in the Marne (France) to the deserts of Niger. From classical and electronic music to French pop, African and Arabic rhythms and experimental soundscapes, Léonie Pernet pulverises form, language, and composition.

Poèmes Pulvérisés opens with a foreshadowing instrumental piece, Brûler pour briller, in which synthetic voices and electronic textures engage in dialogue with a hypnotic orchestration Léonie has made her signature. What follows is a constellation of heady anthems — Acid Niger, Touareg, Paris-Brazzaville — percussive and electronic pieces driven by the desire for a world without borders. Léonie Pernet sings for the forgotten, the marginalised, the silenced.

Her third opus also holds some of her most personal and committed songs: timeless refrains already sounding like future classics. In Réparer le monde and Les Rênes, she tirelessly calls for peace. Je suis un souvenir, Le pas de l’au-delà, and L’horizon ose explore fragmented identities and memories, in an attempt to reassemble the scattered pieces and forge a new horizon.

Get your tickets for the Poèmes Pulvérisés tour

More about Léonie Pernet