Japanese vaporwave producer Infinity Frequencies started out with rather trivial
"eccojams" that sampled dance-pop hits of the 1980s.
Euphoria (2012) contains 20 of them, thankfully very brief, for a total of 32 minutes.
Dream Recovery (2012), which contains 24 of them for a total of only 27 minutes, veered towards more abstract "remixes" of the music of the past,
attaining a trance something akin to
Jon Hassell's "third world" ambient music
in the most exotic moments, like Cascading Rainfall and
In the same year he also released
Euphoria Eternal (2012), 13 "remixes" of dance-pop hits for a total of 14 minutes, and
Sunset Limited (2012), nine songs for a total of
By his standards, Computer Death (2013) was a sprawling album: 28 brief ambient vignettes sampling, as usual, old dance-pop songs.
The Zen-inspired Group Meditation (but perhaps also inspired by movie soundtracks) is a sort of centerpiece, being twice longer than most of the others (almost a whopping four minutes)
Pulses is a close second, a looped cosmic beat.
Lotus Bloom is perhaps the best "re-imagination" of old muzak.
Shrines (2013) is mostly devoted to aggressive rhythms, to melodies with
booming beats (Moonlit Cruise and Continental the most creative ones), and often with jazzy overtones (Stars the most exotic of the jazzy bunch).
The repetition is used in a more manic way on
Computer Decay (2014), 18 songs for a total of 19 minutes,
to bring out a haunting and ghostly quality
(Forever, Future Outlook, Hologram, Watching).
Nonetheless, in a few cases the operation yields nostalgic and romantic atmospheres (notably in Ghostly).
The more atmospheric
Computer Afterlife (2014) reaches
peaks of nostalgia (Eternal, Remember, Frozen in Time)
but is mostly a transitional work that abandons the facile remixing for true
His skills and his inspiration improved on
Into The Light (2015), 24 vignettes for 28 minutes, that shifted towards
a more delicate and ethereal style
(best represented by Memories Echoed in Time), although
sometimes too abstract (Endless). As usual, half of the songs could have been omitted.
The 23 brief vignettes of Closer Than Ever (2016) don't seem to have the same emotional depth of the previous three albums. With rare exceptions
(One Last Chance, Reflections) this album is a rather dull and tedious experience.
Between two Worlds (2018), that offers 23 more, is only marginally better. By now Infinity Frequencies is focused on rhythm-less creatures, and here the
highlights are the solemn adagio of Between Two Worlds and
the warped Mozart-ian piano themes of Obsolete Request and Unraveling.
His work has converged to a looped aesthetic that blends
minimalist repetition, "eccojams"
(nostalgic mash-ups of damaged vintage recordings),
ambient drones and glitchy soundscapes.