This album makes the diference between what they used to be and what they have become. The reminiscence from Joy Division comes to the surface, but there´s still some new contribution, that they will put forth from this moment and on. It contains a great and innovating way of mixing rock with synthesizers. This is the third work, from the band, that reaches not a only their old fans but also an other people, who had never listened their other stuff. Even, some people may find a little cold air in this record because of the electronic basis, it has deeper and material, reflected in their lyrics.

The band is formed by the formely Joy Division, after Ian curtis (leader) committed suicide in 1980. The rest of the band recluted a keybordist, ant tried to move on as New Order. Bernard Sumner in vocals and guitar, Peter Hooks in bass and synths, Gillian Gilbert in keyboards, drummer Stephen Morris. In this LP the members had all clicked together in perfect synchrony. Yet there´s no individual standouts. Anyway, they fledge themselves with a masterpiece recording.
Some cold vocal but very boyish and the accurate, an inventive keyboard accent and a rumbling bass work followed by a precision of a sequenced drum percussion, describe the way they cook this tasty plate. All of this was spiced with the melancholic lyrics, but chopped the enough to be polished examples of a danceable pop songs.
A confussing and lonely Sumner starts off this record with the folky of “ Love Vigilantes”. As a tale, it tells the sad story of soldier who has returned “from a war that must be won / in the name of truth". Maybe the highest point in the album Songs as "Perfect Kiss" and "Sub-Culture," are filled of synth hooks, club-stomping beats. These are examples of what new audiences were looking for: just a simple synth-pop tunes, mixtured synth melodies, and a deeper bass. The ideas expressed by this lyrics, make these pieces work out not only in a disco scene. The darkest peak is "This Time of Night" with nostalgic, great piano line which shows the desperation shouting "Without you I can't go on". The beauty from melodies as “Sunrise”, created with an special moody, grey guitar and the elegant, lengthy and slightly dull instrumental “Elegia” complete this album. The ends comes with the bitter send-off of “Face Up” in with a complaint for a relationship: "Oh how I cannot bear the thought of you" .
Embracing the electronic textures and electro rhythms of the underground club culture many years before other groups, New Order was a pioneer experimenting the fusion of new wave and dance music, two streams that might sound totally different one from the other. They are successfull at joining the two worlds. The band understands that guitars had a place in dance music. Despite of their new technological mastery, the group remains as eccentric and unpredictable as ever. The record has unique arrangements that make it gain more weight. And though it only has eight tracks, it looks complete and condensed.
New order launched this record, with an enormous load of pain for his mate´s death, but they seem to make the effort of getting rid of the past. Even this tragedy shaped up and painted the band best identity portrait. Low-Life was a necessary transition and was the the ground for some bands as Chemical Brothers or Crystal Method. This record has settled the basis from the upcoming rave culture and 90´s disco sensation. This release has cemented their position as one of the world's most respected electronic bands and it has all the components that add up to New Order's fundamental musical framework.
This is main piece that you have to listen if youb haven´t yet, because it has no precedent and it´s the begining of new concept of music.

This album has launched Babasónicos out of the lights, debuting in am radios, aiming to wider spectre, representative of all ages, even kids, and to every social level. And they successed. As “Putita”, the second hit of Infame, prays “El camino a la fama no significa nada sino hay una misión. Cuál es? Hacete muy putita.” (The road to fame doesn´t mean a thing if there´s no mission. Which is? –referring to this mission- Make yourself a bitch.)..And it´s true. They didn´t gained their fame for free. Babasónicos was formed in 1991 in Lanús, Buenos Aires. The name comes from the union of the spiritual hindu prophet Sai Baba and the old cartoon The Supersonics. From the beginings, their first LP had the worst and the best opinions. Some people loved them and some hated them.Both extreme opinions. But they weren´t unnoticed in the argentinian rock scene.
The second album came with an important adittion. A prodigious dj joined them to get this actual line up.It brought a new and uncertain sound by those times. What´s more it was a risky movement if you think in the conservatives rock and roll terms at the time of using loops and those kind of electronic stuff. During this twelve years they made twelve records very different one from the other, but with something in common: the permanent innovating sound. Babsonicos never sound inadvertently. In1998, Ian Brown dicovered them and he asked them to make a song for his upcomin solo album golden Greats. This track is an homonymous of the band.
The vocalist and leading man, Adrian Dárgelos, is simple, clear and convincing. He sounds connected and consistent until the point that you doubt for so many solemnity and formality, and you may reflect if he´s not making fun with you. Or maybe they makes us victims of his sarcasm.
“Irresponsables” (Irresponsible), the first single of InFame, smells like a post modern bolero. Or will it be just rock and roll with a retroexperiment sound?
Dárgelos throws up wordiness. He says so much, and he says nothing at all. But it sounds great. And during the whole album this duality is permanent. It´s wrong and at the same time it´s good. Babasonicos are conscious that they can´t be condemned just for playing on the edge. As the eigth track says “No soy nada sin mi diablo” (I´m nothing without my devil) it lets us know that we are being witness of their position in life. They can act as saints and as villains. At the end, they have fun and it shows his inmature spirit as rebel teenagers. They may sound cheesy and reloaded, but they´re aware that the chorus lines are contagious. Some glutinous and sticky melodies mixed with Rhodes keyboards and plenty of impecables guitar riffs are mingled with many disco beats leaning to electro rock. During this Lp we get from the most grotesque background to the most bizar atmosphere that finally leaves us on the kitschest land.
According to spanish dictionary, “Infame” ( Infamous) means vile, mean, base, despicable// with no honour, or valuation. Therefore they preferre to forward to the critics and detractors and challenge them.And for Babasonicos, is never too much, there´s no excess. They wanna be glam and they got it. “Infame” also means In Fame as a game of words, and that´s what they´re getting throug by now. This is their highest a most recognising moment. They show us their way of seeing that putting “infame” in an eighties fonts that remind us the tv show “Fame”, and this effect underlines
the retro idea that they manipulate along the whole work. It´s like removing dust or powder off from the cover of an old vinyl filled of insolence only justified under the wing of rock system. Though, there´s a fresh air coming from the shaming loves stories and short and transitory relation ships while it filters some wicked and perverse twister created in the present days: Our violent times, our pulp fiction.
Infame is the perfect Christmast gift for Quentin Tarantino.