Back in 2005, when the company was founded by Alexandre Cazac and Yannick Matray, the world was a very different place. As time went on, the need for spaces of cultural activism like InFiné grew larger, while the obstacles grew all the more plenty.
In our current world of hyper-accelerated trends, 15-second hits and 0,00001€ per stream, InFiné stands proudly as a label that offers artists of diverse backgrounds and origins a chance to explore, experiment and evolve. The label builds long-lasting relationships with its artists, supports them in finding their own musical and artistic vision — often resulting in albums or singles that exceed expectations of both parties.
Indeed, open-mindedness seems to be at the core of much of what the label does: the InFiné workshops in Normandoux, France, annual gatherings of artists, label-members, friends and fans working together on projects, experimenting and celebrating together with no distinctions are the perfect example for the label’s familiar and playful approach.
From its beginnings as an electronic label, the catalogue has expanded every year into even further territories and projects. Be it Arandel making an album about Bach with instruments stored in the Musée de la Musique Paris, or the recent collaboration of American Pianist Bruce Brubaker and English Musician/Scientist Max Cooper reworking the works of Philip Glass — these are projects that further the horizon of both the listener and the artist at the same time. Next in line will be Nigerian ambient artist KMRU, who has spent two weeks in Paris with the InFiné team to work at the IRCAM studio.
The work of Sabrina Bellaouel, French-Algerian producer/singer/songwriter is the labels first foray into RnB and was met with international critical success, while Rone has received a Cesar for his first film soundtrack, released on InFiné, and has premiered his second OST for director Jacques Audiard at Cannes Film Festival this year, also forthcoming on the la