Formula Indie Sessions _ Interview with The Infinity Chamber
What is your earliest memory connected to music?
My earliest musical memory isn’t really a single moment so much as an atmosphere. I grew up in radio stations – felted doors, carpets, blinking equipment, voices – including my father’s – travelling invisibly through wires. Rock music was just there, omnipresent, like furniture or weather. Album covers were as familiar to me as family photographs. Music wasn’t something that arrived later in life; it was part of the architecture from the beginning.
How did your passion for creating music begin?
I think it began the moment I realised music wasn’t just entertainment, but a way of thinking. Seeing Pink Floyd’s The Wall fairly early in life cracked something open – suddenly music wasn’t background noise, it was a force that could rewire your inner sphere. Once I picked up a guitar, it was less about learning songs and more about breathing through the instrument, letting it articulate things I couldn’t otherwise say.
What’s the story behind your current music project?
The Infinity Chamber is essentially the long arc of my life filtered through guitars. It’s a project shaped by decades of travel, solitude, bizarre adventures, intense friendships, strange cities, forests, and long stretches of thinking. It’s not a band built for trends or scenes – it’s an ongoing attempt to carve meaning out of chaos, to turn lived experience into something resonant, durable, and hopefully, on occasion, beautiful.
How would you describe your sound to someone who has never heard your music before?
I usually say psychedelic folk-grunge, though that hardly covers it. It’s poetic outsider music – folk storytelling soaked in distortion, grunge urgency threaded with philosophical and surreal imagery. Music for people who feel most alive in the cracks between things.
What is one thing you’ve learned that completely changed the way you make music?
You know, I don’t think anything has changed the way I make music, I still create songs in pretty much the same way I always have. I find the melodic sequence that speaks to me on a guitar and preserve the idea it introduces. I follow the path the music sets from point to point – a little like orienteering in a forest – and work out the poetry the music carries. Some songs come like gifts out of the sky, some from months of gestation and excruciating labour, some encoded in fever-dreams, and some develop slowly like cities constructed of meticulously arranged matchsticks.
What tools, instruments, or software are essential in your creative process?
The acoustic guitar is central – everything begins there. Beyond that, a quiet room, time, good recording equipment, and collaborators who actually contribute. Software matters far less than sensitivity and attention, though we do spend a great amount of time sculpting and arranging sounds during the mixing process.
Which indie artist or song are you loving right now?
Six Organs of Admittance continues to impress me. I’m struck by how the music rewards attention without demanding it: it can hover in the background like weather, or open into something almost spiritual if you lean in.
How have your personal experiences influenced your music and artistic vision?
Completely. Travel, displacement, love, loss, danger, boredom, psychedelia, wonder – all of it seeps in. Music is distilled experience. If you haven’t lived, there’s nothing for the song to draw from. I don’t believe in separating art from life; the fingerprints are always there.
What emotions or messages do you hope listeners take from your work?
A sense of recognition. That strange feeling of being understood without being explained. If listeners feel less alone in their confusion, longing, or wonder, then the song has done its job.
What’s the most important lesson music has taught you so far?
That sincerity lasts longer than cleverness. Trends rot quickly. Truth doesn’t.
What is a dream venue or festival you would love to perform at?
Somewhere intimate rather than grand – a room full of people who are genuinely listening. That said, performing in Hammersmith Apollo wouldn’t go unappreciated.
If you could collaborate with any artist, past or present, who would it be and why?
Elliott Smith. I really admire his polish and perfection, and his uncanny ability to make intimacy feel universal. A formidable songwriter with a classical sense of melody and structure. He could compress enormous emotional complexity into a few plainspoken lines. I think I’d simply enjoy working around that energy.
Where can our listeners follow and support your music?
You can find The Infinity Chamber on YouTube, Bandcamp, and Instagram – on all the streaming services. Bandcamp is particularly important to us – it’s where listeners can stream for free or choose to directly support the work. We released an album “The Opposite of Everything” in October, and it’s also available on vinyl in a really beautifully presented LP. If you must use the rapist Spotify, we’re there too. All our links are here: TIC Links: https://linktr.ee/theinfinitychamber
Bandcamp: https://theinfinitychamber.bandcamp.com/
Youtube: https://www.youtube.com/c/theinfinitychamber
Spotify: http://open.spotify.com/artist/1wxYO4PHQa6f6QP1biD6Js
Instagram: https://www.instagram.com/theinfinitychamber
Looking toward the future, what’s your dream for the next chapter of your musical journey?
I’ve just returned home after nearly 30 years traveling and living abroad; I spent a lot of time in Istanbul – so to solidify the band here in New Zealand, play live again, and continue recording without compromise. I want to keep making work that feels vital rather than strategic.
What do you hope listeners will discover about you along the way?
That the music is honest and layered – not always what it seems. That it wasn’t assembled to please algorithms or markets, but to celebrate something real. If people discover a fellow traveller in the songs – someone ruminating on similar questions – then that’s more than enough. And in particular, if the intellectually misfit, the introverted, and the asocial can recognise their own beauty in my work, my job will be done.
