Emitido
September 2004 (Australia) / Early 2005 UK/USA
- Need I say that if you have not heard of Infusion then you have been living under the proverbial rock for the last year? Quite simply, in the last year or even longer, they have been devastating. We know they are fantastic live, that doesn’t need to be emphasised, but perhaps the biggest improvement they have made is in their remixing duties and for me their singles, and the effect these tracks have had on the international stage. Needless to say, it has been their international appeal that has made Infusion without doubt, Australia’s biggest Electronic act. Their new album has been a long time coming, not only for their fans that have seen them rise over the last few years, but also for the commercial market, a market that has really taken a great liking to the three Wollongong bred Aussie lads in Jamie Stevens, Manuel Sharrad and Frank Xavier. Six Feet Above Yesterday is this latest album, and it features their hit singles ‘Girls Can Be Cruel’ and ‘Better World’, as well as a multitude of blissful electronic moments. The album could not have come at a better time, as it looks set to finally mark Infusion as one of the most exciting acts, not just in Dance, but in all forms music to come out of Australia in the last few years.
The gritty sounds and raw tastes of Better World start the album in good stead, using the catch vocals of Manuel to put the trademark Infusion sound into act early on. The Careless Kind is another highlight production in the album, using good smooth vocals alongside tough edgy electro vibes. The album continues to drive in a tough direction early on with the lively Feeding From The Hand, one of the vocal less club friendly cuts on the LP. The cheeky Girls Can Be Cruel is next, and should be familiar to many as it has been one of their biggest selling singles to date.
Next up is undeniably one of the highlights on the album, that being the massive Love and Imitation. It is the track that concluded their Essential Mix, and a track that has caused a massive stir for the trio whenever they appear live, mainly due to the gritty baselines and beautifully crafted melodic tones. Daylight Hours showcases the smooth and mellow side of Infusion with the use of subtle melodies and ambient sounds for the first half of the track, before some tough beats kick in alongside flowing vocals. Unlike the previous track, Invisible is smooth and mellow for its entirety, and it is brilliantly crafted using smooth emotive vocals as well as the use of some instrumental genius thanks to a multitude of supporting artists on an array of instruments. It really is a stunning side of Infusion that has not been heard enough! Best In Show is next, and it features some industrial effects as well as some retro sounds and vocals with attitude.
Rattlewasp lifts the energy levels up to no end with an intense array of furious beats, solid baselines patterns and some twisted effects. This is what you should expect to hear from the lads in a live arena. The pace softens up with Dream, a track that reminds me somewhat of the modern Depeche Mode sound. The powerful ambient sounds of We Follow, I Fly are next, bringing the album into landing gear as it prepares for its conclusion. Always There gives the LP another upbeat moment with broken beats and intense base guitar thrashes before the conclusion of the album is performed by Continental Drift, an emotive journey of stunning Cello sounds and smooth strings.
Infusion has delivered something to very proud of in this album. It features a diverse range of moments, from the intense dance floor cuts that we have come to know and love to the smooth ambient and often emotional rides of the slower tracks on the album. It has been a long time coming and for me it was well worth the wait.