Downloading an unofficial reissue of Infinite resides in a gray area. Since the album was officially re-released digitally in 2016 (on Spotify, Apple Music, Amazon), it is protected by copyright. However, Web Entertainment has rarely enforced takedowns because Infinite never generated significant revenue.
That said, the 2009 "The Void" version is technically a pirated bootleg. It is not endorsed by Eminem, Paul Rosenberg, or Universal. If you want to support the artist, buy the 2016 digital version or hunt down a used copy of the 2000 CD reissue on Discogs ($20-50).
If you stumble upon this file in a dusty external hard drive or a private tracker, here is how to know you have the holy grail:
If you manage to track down this exact file set, here is what you will most likely get:
Is it superior to the official 2000 CD? No. In fact, the 2000 CD is the source. The 2009 "The Void" version adds nothing but confusion.
Is it better than streaming? For archiving, yes—streaming services use lossy or mediocre masters of Infinite. But you can rip the 2000 CD yourself for a fraction of the effort.
FLAC (Free Lossless Audio Codec) is a format that compresses audio without losing quality, unlike MP3. For a cult album like Infinite, which was recorded on a shoestring budget (reportedly $1,500), FLAC seems paradoxical. The original recording is not audiophile-grade. It’s muddy, with sibilant highs and a narrow stereo field.
However, collectors seek Infinite in FLAC for two reasons:
The keyword emineminfinitereissuecdflac2009thevoid suggests a user wants a lossless, bit-perfect rip of that fan-made 2009 "reissue" CD.
But here’s the twist: No physical CD was pressed in 2009. Therefore, any "CD FLAC" from that year is actually a digital-to-digital copy—either from a CD-R burned by a fan, or a direct FLAC conversion of the 2000 CD.
Between 2005-2010, numerous "release groups" tagged their rips with internal identifiers. Groups like DMT, THF, RNS, and WAV were common. "The Void" could have been a short-lived group specializing in obscure hip-hop FLACs. Their "logo" might have been a black album cover with a void-like circle.
You can find Infinite on Spotify or YouTube in lossy, compressed formats. But those versions sound like a photograph that has been photocopied a dozen times.
The FLAC (Free Lossless Audio Codec) version of The Void CD is different. Because Infinite was poorly mastered originally—thin lows, harsh highs—listening to it in MP3 at 128 or 256kbps creates "artifacts" that muddy the already murky production. In FLAC, you hear the hiss of the tape, the subtle clipping on the bass kicks, and the actual room reverb on Eminem’s voice. For a lo-fi record, lossless is essential.
A true 2009 FLAC rip of The Void CD has specific characteristics:
