Norway only, kindly contact Alex Hardee at Coda Agency for bookings elsewhere.


In New York, London, Berlin and Barcelona something is happening. It hasn't got a name, it probably doesn't need one, but, across Europe and North America, a network of cool nerds and sonic visionaries are engaged in a feverish revolt, a wholesale shredding of the musical rulebook, as they mix electronics and rock influences, into a potent new underground sound. It is a collision of art, ideas and energy unrivalled since the heyday of post-punk, a chaotic, ever-changing scene which, at its extremes, takes in everything from Franz Ferdinand's indie-disco through Mylo's ultra-modern house to the mangled sonic aggro of UK grime.

This is The Infadels' world. To understand the above, is to start to understand; Bnann, Matt, Al, Richie and Wag, five London-based upstarts determined to fuse Talking Heads, Steve Reich, Bob Dylan, The Stooges and The Rolling Stones funkier moments into tunes capable of both rocking clubs and engaging brains. If dance music got dumb and rock music got lazy, this is the band to stop the rot, the band to produce something wholly new and uncategorisable.

But, first… some facts. Sort of. Back in the dark mists of time (1999), Matt [guitars/ programming] was playing in a rubbish avant-garde electronic band, while Al [drums], who he knew from university, was playing in a rubbish guitar band. By night, they would clean ceilings at Heathrow. And moan. Meanwhile, Bnann [vocals], whose previous band Greenship had been caught up in the post-Britpop major-label meltdown, was working as a courier. "I went from signing autographs," he says, dryly, "to delivering letters."

Briefly forming a band called Balboa that quickly disintegrated, the band becoming disillusioned with 'cool' London they used that anger, to fuel The Infadels' passion. When the trio, now joined by Wag [bass] and Richie [percussion, onstage mixing, backing vocals, crazy dancing], reconvened a few months later, an informal Infadels manifesto wrote itself. They wanted a raw sound, chaotic gigs and to unapologetically follow their instincts.

Even the name, The Infadels, was a deliberate, provocative break with the past - a declaration of their status as heretics and outsiders. Taken from the Bob Dylan album, Infidels, Bnann - notorious for, previously, suggesting they call themselves, ahem, Citizen Kaner! - came up with it : "I looked it up to see exactly what it means, and it said a non-believer in society, politics and religion. Well, that's totally me." Matt's spelling mistake later, and The Infadels were born.

Determined to do things on their own terms - "The whole DIY ethic is rebuilding British music," enthuses Richie - they immediately started throwing their own U Wot? parties, at London's notorious Rhythm Factory, and set up their own label, Dead At Thirty.

Their debut 12" Leave Your Body was supported by the likes of the late John Peel, XFM and Gary Crowley, while it's release saw The Infadels being invited to play some of the UK's cooler underground clubs, such as; Manchester's Club Suicide and Glasgow's SoCo, the latter ending in a farcical police raid. A whip-smart, unctuous slab of electro-rock, 'Leave Your Body' was inspired by Jeff Noon's sci-fi classic, Vurt. The b-side, meanwhile, Brandon Vegas flirted with controversy, taking its title from an American, Brandon Vedas, who, egged on by friends in an Internet chatroom, died after OD'ing on prescription drugs.

In contrast, follow up single, Can't Get Enough*, was gloriously dumb, a pounding apocalyptic club track, literally bashed out by chief songwriters Matt and Bnann in their tiny Hackney Road studio. Word was spreading, though, and shortly afterwards The Infadels picked up two gongs at the 2004 Diesel U-Music Awards, Wall Of Sound pounced, their larger-than-life MD Mark Jones welcoming the band to the label in typically provocative style: "The Infadels are one of the most exciting bands I have seen. Watch your back rock music. Or, better still, have a bath and buy a synthesizer!"

After which, The Infadels' late summer tour with Radio 4 was the perfect package, a glorious mixture of method and madness, punk and funk, style and bile. It's a schizophrenic life for the band, nowadays. One minute they're in Ibiza, playing Manumission surrounded by naked models or playing to packed out tents at V2005 and the next they're back in Hackney, dodging moody local hoodlums, building snare drums from ironing boards abusing their instruments and rowing about magicians (don't ask). If it all sounds a bit chaotic, it is. But, The Infadels love it.

Matt: "The other day we heard Erol [Alkan] playing in Belgium and the biggest dance tune he dropped was The White Stripes' 7 Nation Army. It's a rave record! That's surely a sign that there is no rock versus dance thing anymore, that there is open-mindedness." More importantly, it is, surely, a sign that the world is ready for The Infadels. Prepare yourself.

The Infadels are currently locked in their studio writing tracks for their debut album for which recording statrs this December.

* Originally, Can't Get Enough featured cowbell by Yes/Genesis drummer Bill Bruford, Al's dad, but Matt deleted it because it was "too good". Fact! 


'Sexier than The Streets, funkier than Dizzee Rascal, as angular as The Rapture and a damn sight more relevant than Audio Bullys' - Logo Magazine

'Three tunes that at once boast a noirish sophistication and raw immediacy' - ID

'A perfect, unpredictable mid-point between punk funk and edgy electro disco' - Mixmag

'Forget The Faint, The Rapture and the rest of the nu-wave electro punk alumni : Hackney four piece The Infadels are where it’s at taking the scene to startling new levels…nervy disco, vintage soul and raw garage funk combine to make an aural assault of epileptic proportions. There is no satisfaction without salvation. Get saved by The Infadels!' - eyballkid.com (Single Of The Week)

'Moles nearly wansn’t enough. It was like being inside a chamber in a heart pumped to breaking point with adrenalin' - Jonathan Oates (Moles Club live review)

The rise of this band over the last twelve months has been phenomenal! I remember receiving a CDR little less than a year ago containing one single track, ‘Leave Your Body’, and I was instantly hooked but not entirely convinced. After disappearing to their studio to record some more music the four Hackney techno-funk-disco-punksters resurfaced a couple of months later with another 4 tracks and that was it, the ball just kept rolling and rolling and rolling…Watching them play their first ever live gig at the ‘world’s smallest venue’, namely Betsey Trotwood in Farringdon, as clichéd as it might sound, was the time my faith in music was restored and I wanted to tell the world! Thankfully I was proved right and here we are a year later – people just can’t get enough! One of the most amazing spectacles is watching the crowd at an INFADELS gig go off – not quite registering what has hit them, jaws drop, knees weaken and then off they go submitting to the adrenalin charged posse that is THE INFADELS!

It all begun four years ago when the first incarnation of THE INFADELS emerged from the East London music scene under the guise of BALBOA. Our heroes played to packed crowds across London including ELECTROWERKS, PHOENIX and uber trendy club night ELECTRIC STEW. Then, it dawned to them that they had inadvertently become trapped in ‘trendy electroclash hell’ so they ripped apart their studio, gave their manager the boot and locked themselves in a room while they contemplated their future.

Starting afresh in 2003 they set up their own label, Dead At Thirty Records, and took the whole operation in-house. Eventually from the ashes of BALBOA rose THE INFADELS whose name came about after the band saw OSAMA BIN LADEN on TV cursing the infidels calling them ultimate sinners, which appealed straight away. A spelling mistake resulted in the alternative spelling and the name stuck. In September 2003 they returned with their first single as THE INFADELS, ‘Leave Your Body’, which was immediately played by JOHN PEEL & GARY CROWLEY and things really started happening.

But let’s rewind and get a bit of background info on the four talented twenty somethings that are THE INFADELS. BNANN (vocals), a former window cleaner who claims to have the world’s largest collection of rings shaped like boombox stereos, used to front 90s band GREENSHIP, has ghost written for a number of dance acts and is half of Sumsonic Records’ DARKO & BNANN. MATT (guitars and technical wizard), who once had to dress up as Julia Roberts’ Pretty Woman character for PLAYGROUP’s ‘Make It Happen’ video and claims his biggest disappointment in life was meeting Timmy Mallett, also plays with TALL BLONDE and PLAYGROUP. 6ft 5” drummer ALEX, son of legendary drummer BILL BRUFORD (GENESIS, KING CRIMSON, YES), whose worst job was ‘wandering round a fairground in an 8ft blow up Big Al suit’, also moonlights with TALL BLONDE. The latest addition to THE INFADELS is long time supporter and MATT’s roommate, RICHIE (electric handclaps and percussion). RICHIE is the gang’s musical encyclopedia and former 1994’s UK Sega Champion that lost to a six year old a year later!

With influences including punk, funk, dance, ska, electro, hip hop and blues it’s no surprise that THE INFADELS’ music is so difficult to pigeonhole. Unlike most of their contemporaries THE INFADELS’ sound is not retro. With sophisticated but catchy song writing, the friction of live instrumentation with electronica and raw production techniques THE INFADELS transcend a live energy and immediacy. Their music captures the pounding excitement of dance along with the arrangement of rock and angst of punk while carrying a familiarity of the band’s influences.

Having just released their second double A side single ‘CAN’T GET ENOUGH/’MURDER THAT SOUND’, HMV’s Nu-Electro record-of-the-week, the band is already on the brink of going stellar. Currently touring the country and gathering a loyal and fast-growing following, they are packing in the crowds from dingy holes such as The Moles Club and The Barfly to super clubs such as FABRIC. New songs ‘Love Like Semtex’, ‘Sundae’, ‘Kerbkrawler’ and ‘We Were Boy Racers’ have been going down a storm building up the anticipation for the album which will drop in a few months’ time.

Following hot on the footsteps of bands that have emerged from the underground club scene and have broken huge into the mainstream such as Scissor Sisters and Franz Ferdinand, hidden away in Hackney the next musical uprising is ready to take-off. Watch this space!



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