Infinity Knives
ABOUT
"They thrive on the chaos of an unforgiving world." - Pitchfork
"Unabashedly political and DIY." - Loud and Quiet
"The poster boys for alternative and experimental hip-hop." - The Quietus
"Ennals rolls out a lyrical agenda that resembles an amalgam of The Coup’s funk-fortified Marxism and Paris’s militant tactics." - Bandcamp
“The bitch that got Emmett Till killed just died, and I PRAY that it was painful as f**k.”
Baltimore-based experimental hip-hop duo Infinity Knives and Brian Ennals embody this ethos of cutting through pretense with their raw, unfiltered creativity and incisive commentary. Known for their boundary-pushing DIY approach, the duo has achieved a cult-level following experimental hip-hop, blending chaotic, genre-defying production with unapologetic social critique and dark humor.
Almost entirely fueled by word of mouth, their 2022 album King Cobra—released by the Brighton-based label Phantom Limb—earned Album of the Year from Loud and Quiet and landed among SPIN Magazine’s Top 5 Albums of the Year. The record, a fusion of incendiary lyricism and experimental production, firmly established them as leaders in the underground hip-hop scene, proving that true innovation can thrive even in an industry rife with nepotism.
Out on 4th April, their latest collaborative album, A City Drowned in God's Black Tears, was a grueling labor of frustration and chaos. Originally conceived as an EP, the project unexpectedly expanded into a fully realized album as setbacks piled up. The loss of critical sound files forced them to painstakingly recreate what they’d already built, a process that drained both time and morale. Add mental health struggles and the deaths of close friends to the mix, and the project felt less like a creative process and more like a fight to survive. The entire experience was marked by stress, exhaustion, and a palpable sense of frustration that hung over every session.
Thematically, the album dives headfirst into the grotesque tragedies of today, from the violence of late-stage capitalism to the ongoing slaughter of Palestinians, while reflecting on the duo’s own mental health struggles. The lyrics in the lead single "Sometimes, Papi Chulo" capture this raw intensity, combining grim humor and bleak truths in lines like: "Sometimes you say f**k and don’t pay back your friends / Sometimes life don’t give a chance to make amends / Sometimes you raise your kids right / They come out f**ked / Sometimes you throw the perfect punch / And that cat still duck."
The track balances gallows humor with existential dread,
“this song is just a reflection of all the peaks and valleys that kinda encompass daily existence. From the mundane to the joyful to the tragic. I tried to make it equally funny and depressing, like life”, Ennals says.
Initially intended to be less political, A City Drowned in God's Black Tears became a poignant reflection of the current state of the world. The duo, wary of being pigeonholed as solely political artists, found themselves compelled by global tragedies and systemic violence to create a record that speaks truth to power while staying true to their ethos.
At the heart of their work is the tension that fuels their partnership—a creative process defined by playful clashes and relentless experimentation. They aren’t afraid to push boundaries or each other, crafting music that is visceral, challenging, and deeply personal. “Sometimes it’s not about making the perfect track; it’s about making the one that makes us laugh, cry, or think,” Ennals reflects.
Their dynamic also extends to their personalities: Ennals keeps up with pop culture, while Ravelomanana jokes that he’s a “hipster” with little to no knowledge of modern music or celebrities. Instead, Infinity Knives could ramble on about Philip Glass, OutKast, or Sparklehorse—an idiosyncratic blend of influences that shapes their unique sound.
With their cult-level following, Infinity Knives and Brian Ennals have built a reputation for raw authenticity and a fiercely independent ethos. As underdogs, they’ve risen in an industry dominated by nepotism, relying on grassroots support and the sheer power of their creativity. They’ve graced the cover of SPIN Magazine multiple times and toured Europe, proving that true innovation finds its audience, no matter the obstacles. Acclaimed Irish hip-hop group and fellow provocateurs KNEECAP, specifically requested the duo to support them on their biggest headline US tour last September.
“Together, Infinity Knives and Brian Ennals might seem like the poster boys for alternative or experimental hip-hop, but King Cobra proves that labels can be meaningless,” wrote The Quietus. SPIN called the duo’s work “a futuristic, dystopian masterpiece” and described Ennals as a “brilliant tragicomic nihilist.” Loud and Quiet praised Infinity Knives for his “deep love—and knowledge—of a range of genres” and the way his production “carries the listener effortlessly.”
The result of all this is an album born not out of harmony but out of discord—a reflection of the frustrations, tensions, and sheer determination that defined its making. Yet, for all the strife, the album carries the mark of its collaborators’ shared grit and the singular vision of an artist-engineer who turned a cozy basement into a crucible for innovation.
VIDEO