DECAYCAST Reviews: JASMINE INFINITI “Y1” (Self Released/NWD, 2018)

DECAYCAST Reviews: JASMINE INFINITI “Y1” (Self Released/NWD, 2018)


Jasmine Infiniti comes  correct with this original production track, titled “Y1” Everything about this track hits in just the right way for an industrial danceclub bomb on the  unsuspecting audience. The track opens with just a thudding drum but slowly gains speed  and chaos with glitched-out industrial polyrhythms, in the pocket blown out synthesizers, churning bodies melting in the smoke filled room. Jasmine Infiniti is known for her uncanny, heart pounding, leg  twisting, room shaking,surrealist sound sorceried mixed genre DJ sets, but these  original productions, while informed by her DJ aesthetic take things to a whole different level of body moving bangers; alien voice transmissions and thudding electronic breakdowns, blending sharp, swift vocal stabs, chopping dicing synths, and heavy, funky, abrasive four to the floor clanging percussion,  Infiniti creates a  sound and  aesthetic thats unique,  different, important and all her own. Look out for an EP and follow her  collective NEW WORLD DYSORDER. Infiniti takes her knowledge of  mixing, turntablism, rhythm and density and amplifies it  across these original compositions with unique, heavy and promising results.

Infiniti has been setting trends in sound and  image long before this track and will be doing so long after, support this important in groundbreaking, unique artist any way you can!

“The Queen of Hell, Jasmine Infiniti is a New York Native whose dj roots started in Oakland, CA. A long time member of the House of Infiniti, Jasmine became the mother of the Bay Area Chapter, though she now resides in Brooklyn, New York. She blends dark and sometimes ambient techno and industrial sounds with break beats and cunty tracks creating a unique soundscape glimpsing into the future.”





DECAYCAST Reviews: Katatonic Silentio / Tremco / Neurosplit / Oromë (Biodiversità Records, 2018)

DECAYCAST Reviews: Katatonic Silentio / Tremco / Neurosplit / Oromë (Biodiversità Records, 2018)


This collaboration shifts  honestly between many many different  sonic spaces; in the least contrived blending of  beat oriented synthesis and, well plants.  Riffing off a  theme of the releasing label, Biodiversità Records, Katatonic Silentio / Tremco / Neurosplit / Oromë create a dense, special world of  sonic possibilities in a structurally rhythmic call and response ping pong of tense, delicate, and complicated sonic events.  Oscillating between dissonant beat oriented electronic music which the  artists admit could be  considered “techno” but the  four to the floor mindless speed comedown hooks are  left  by the wayside for a more atonal, arrhythmic, deconstruction of traditional “techno”, “dubstep” or whatever step” you take away from these quaint but pungent sonic exercises.  “Pteris Variata” unduates  between slower, cold, tense pulsing rhythms, occasionally backed by more straightforward  percussive  voices, however the  ambient  swells and  tense array of  noises never  allows this to become too much of  a  unique sound; the tracks and  sections move  swiftly and  articulate their space and move on, nothing forces the listener into a corner relentlessly, rather  creates a dark and interesting space for the listener to crawl into if they choose and explore a lush, dark, cinematic sound.

Background  swells of anciently articulated sawtooth waves  swell and wobble under a filter noose and offer an ambience which the percussion rhythms can dance around without dominating the mix.  Overall the  vibe is minimalist, tense, cinematic, ambient. Clickity, tapping, bass drums drive the  rhythm exercises through a  full workout of  sonic possibilities ending with perhaps the  EP’s strongest track, ” Oromë – Athyrium cantem” which speaks to  early Phaedra era Tangerine Dream, Wendy Carlos and  even references current producers such as Cloudland Canyon or Peaking Lights.

Will be  digging more through this  Italian based label’s catalog and seeing what other dark, pulsing treats we can find hiding in the brush.

decayREVIEWS : Flourescent Gray “Ambiente” (3xCD , RecordLabelRecords, 2013)


fluorescent Gray is one of the artists of RecordLabelRecords,an Oakland based imprint releasing intricate and dissonant works from the bay area and beyond-  from Thomas Dimuzio, Flouresent Gray ,Nommo Ogo and more. With a clean and fresh aesthetic, the attention to detail and themes of science fiction, mind alterations psychedelic based  minimalist textures in both  image and sounds RecordLabelRecords has seem to craft an aesthetic that for The most part, is all their own . These themes carry over nicely to the recorded works of Flourecent Grey. “Ambiente” is a three disk promo for what appears will actually be housed in a printed box with some small scale art prints as well. Spanning over three discs, and seven years,  “Ambiente”  is “all over the place” (in a good way)  from
“old school” minimal techno, to musique concrete, to dark drone to straight field recordings.
On Ambiente, Flourecent Gray explores a wide breath of sonic structures and conceptual possibilities through this tour de force of shuttering electronic environments;  Live “traditional” instrumentation, buzzing programmed synthesizers, distorted drones and sample based collage sections all have their own breath of life throughout this massive work.

Disk  one starts out the gate with slow breathing tones – a distant machine puttering along on its last legs grows closer and louder/  creating a nice ambient arch of rising shuttering, yet dissonant chords. The sound of  the sonic deconstruction  of cold, barren, shaking architecture.  slowly and subtly collapsing on itself, in perfect time
. the rhythmic structure starts to reveal itself and builds into a dense psychedelic
Array of choppy lazer like percussive beats, layered  synthesizers, and echoed, distorted vocals. Ambiente moves along subtly yet swiftly through more beat driven tracks of danceable yet complex electronic movements. At times
Noisy and at times sparse and theatrically minimal, Ambiente spans  a wide of pacing, intensity and dynamics- which can sometimes be a challenge with more beat driven electronic music – but Ambiente does a swell job of always keeping the listener guessing

. The overall slope of the peaks and troughs of “an album” in the traditional sense, are explored throughout the near three hour release, yet the work is so stretched out the listener really has to commit an intense listening session to gain the overall structural integrity of Ambiente as near three  hour work, rather than seprate works. To the artists credit, however Ambiente – does this very thing,  by giving life to a scope of sonic methods. Dark churning, chaotic, cacophonous stabs of sound   morph into minimal sections, raw single
Or tones-more, barely audible scrapes of sound movement swell and collapse, then bleed into  field recordings, ESP, spy style recordings, single instrument “solos”, playful yet sincere  foley artist samples slowly morph into more shuttering tones, voice, synth voices, and raw tones blended with a  blissful care give breath back to an empty dark echo chamber. Glowing sounds pulse through the eyelids giving birth to new pings of decay – a slow machine waking up throughout the mix, while possessing a similarly cold theme of a distant consciousness being resurrected through sonic transmissions.

, Ambiente,  At times, “loses” the listener in the traditional sense, yet perhAps that was part of the intent . The listener at that point, must  engage  into the realm of background sounds – unknown voices. A distant blurred yell ? At this point i was “lost” but it made sense .and I was unaware of what I was listening to and then i would become drawn in again. Maybe considering the length of this release .that momentary detachment from the work as a whole  isn’t the worst effect/affect.   The push and pull of presence and absence in the overall structure creates a subtle tension which works well

Over the three disks many different moods, structures. Pacings Methods are used. Not afraid to be self referential within its stylistic choices, Ambiente references early forms of “ambient” music as well as carving out its own sonic territory which comes off neither as redundant nor contrived, but rather fresh and arching across different sonic territories. Sometimes u can tell if your listening to futuristic consciousness sound alterations or distant transmissions from the past, a vast and interesting release overall, will be checking some other Flourescent Gray recordings in the future, as well
as works from the label, RecordLabelRecords

written by: malo