Entrañas - Caverna
Label: Infinite Machine
CAT#: IM114
Format: Digital
Release Date: September 27th, 2024

Tracklist:
1. Indignado
2. Ajicito
3. Diclofenaco
4. Cruces
5. Cascada
6. Coscacho
7. Tigrillo (ft. Buena Tarde)
8. Nauseas
9. Toque De Queda (ft. Ene Ese)
10. Chivo
11. Muerto a Puntapiés (ft. Carlos Pabón)
12. Caverna

Ecuadorian producer Daniel Gachet “Entrañas” presents his debut full album Caverna on Infinite Machine. The project explores an amalgam of polyrhythms found in traditional Ecuadorian music such as bomba and albazo, blending them with jagged atmospheres of uk bass and grime. Through deliberate sound design, Entrañas seeks to place the listener within the unpredictable ecosystem of the city of Quito and its surroundings.

In this record Entrañas searches for a sound that conveys both the infrastructural chaos he experiences currently in his home city, while also reflecting the hauntingly beautiful and seemingly perpetual terrain just outside of Quito. Not far from the frequent and unpredictable power outages and city wide lockdowns which are now commonplace due to the ongoing narco wars, there is an Andean stratovolcano visible from many parts of Quito, including Entrañas own bedroom window. Ruco Pichincha stands nearly 5000m in height, attracting awe and curiosity of many who happen upon it, perhaps by way of its beauty as well as its innate potential for mass destruction. A particular location of interest for the artist, the mountain emits a kind of objectivity that is distinct from the urbanscape of human activity; it asserts itself, unobservant of the adjacent violence, trials and tribulations. Its very name–“Ruco” translated in English to "old" from the indigenous Quechua language–seems to reflect both its acquired reverence from native inhabitants of the region, as well as the relative incomprehensibility of such natural monuments.

On Caverna, references to Quito and its encompassing geography are apparent in ways that are direct at times, nuanced at others. “Toque de Queda” (trans. “lockdown”) was produced in real time during a city wide lockdown in which Entrañas and his collaborator Ene Ese were unable to leave an apartment for hours on end. The sheer apprehension of such a situation can perhaps be gleaned from the seething claps and non-melodic droning atmospheres that build, producing a tone of frustration and unease. Tracks like “Coscacho”, “Muerto A Puntapiés” and “Cruces” seem to take on a similarly minimal approach, focused on brooding heavy bass lines and relentless polyrhythms that become increasingly menacing as the tracks build. A listener might imagine these compositions to conjure the rumbling subterranean activity of Ruco Pichincha. As their names might imply, “Caverna” and “Cascada” take a different approach, building up shimmering soundscapes reminiscent of 90s new age. These ephemeral sequences seem to summon meditation on natural landscapes in a way that feels lighter and more optimistic, unveiling a softer vision.

In light of his prolific catalog, Entraña’s twelve-track work reaches into territory that feels both more personal and experimental–though these compositions are undoubtedly dance-floor ready. Caverna brings together anthems of leftfield club music with chambers of ambient reflection–both of which read as significant and distinct to the artist’s background and day-to-day experience in Quito. As the majestic and humbling mountainous surface of Ruco Pichincha might resemble, Caverna’s title track ends the record with a reminder; a gentle nod to the significance of such sacred wonders as places of refuge in our human experience; whether we can grasp them, or see them from our bedroom window.

Artwork by Benfika
Mastered by Fausto Mercier
Words by Sueuga

IM114 - Entrañas - Caverna

dru-1’s “preshuh” was composed in the artist’s home of Trinidad during Carnival of 2024. Reflecting on the experiences and influences that shaped the record, UK-based artist Drew Lovett recalls inviting friends to stay with their family during the festivities, experiencing overproof rum, pan bands, card games, and doubles. Community and a celebration of sociality seem to shimmer through the EP’s bass-ridden tracks, evident not-least in the prominent sound bites and vocals recorded on-site from those close to the artist during the Carnival.

The project unfolds across six tracks, each composition draped in FM synthesis and layered over gritty basslines. “preshuh” builds upon the
vision realized in the artist’s debut project, a 4-track EP released on Why Be’s Yegorka in 2024. This record punches with more technical precision, making a mature statement that feels cohesive and intentional, while retaining its playful essence. Lovett collaborates with Marta Rosa on percussion for the final three tracks—“maco queen,” “palance,” and “a4s.”

Despite its moody basslines and clear roots in the UK club scene and Hard Drum, Lovett’s EP is infused with a spirit of optimism and revelry. The EP opens with echoes of “toma!” and other indistinct cries, as timbale taps gradually build alongside jerky basslines in “diastema.” The subsequent track “corbeaux,” takes a more atmospheric approach, leaning further into lush melody progressions. Breath-like chirps fade in and out of the mix, allowing different melodic and percussive elements to shine at various moments. “Libido” calls the listeners to commune on the dancefloor, led by a steady four-on-the- floor rhythm. The hypnotic chant, “We come together,” repeats with quiet assurance, woven through a backdrop of filtered basslines and dissonance. Crunchy, sputtering synths wind in and out of the soundscape, teasing a sense of chaos and rapture, grounded by the steady rhythm beneath. In “maco queen,” the record seems to reach a point of climax; jittering bass sounds overtake the atmosphere immediately. “Hey!” and “Ha!” shout over the flurries, punctuating the frenzy, while intricate low-end patterns and hand drums introduce moments of organic warmth. Percussive taps and clinks imagine an impromptu gathering of people jamming together. Here, Lovett seems to call us to let loose, to shout, to dance, to revel in excitement. The fifth track, “palance” unfolds over a steady four-on-the-floor rhythm, with intertwining synth lines that emerge and recede unpredictably, engaging in a dynamic interplay akin to an animated conversation among close friends. The EP concludes with “a4s,” a vibrant, infused with Soca and Dembow breaks track that brings key elements from earlier songs—vocals, claps, and heavy basslines—crafting a dynamic yet cohesive finale.

Experienced in full, Lovett’s EP is a call to togetherness—a sonic invitation to gather, move, and celebrate without restraint. Infused with the frenetic energy of the carnival where it was conceived, the project unapologetically embraces the dancefloor, urging bodies into motion, and spirits into communion. Beneath its pulsating rhythms lies
a deeper longing—not just for revelry, but for connection. In a world still relearning the rhythms of closeness, it asks: How do we rebuild the spaces where joy and community once thrived? 

Artwork by Lucas Owen
Mastering by TB-Mastering
Words by Manolis Elijah Sueuga

IM118 - dru-1 - preshuh

Bios Contrast & Nilotpal Das - SSAC42
Label: Infinite Machine
CAT#: IM120
Format: Digital
Release Date: June 27th, 2025

Tracklist: 

1. everyth1ng 1n l1fe (feat. K_anti)
2. EXT10 (feat. K_anti)
3. dysph0r1a (feat. K_anti)
4. XSCX
5. N0R
6. ap0calypse 42
7. espress0
8. Blue Box Recovery

Listening to Bios Contrast–aka Nilotpal Das’--SSAC42 for the first time might be likened to the experience of watching sunlight shimmering on the surface of a body of water. There is an effortless spontaneity, a mesmerizing ebb and flow. There is a movement which continually reminds us of itself. We are drawn in without needing to understand why. Curiosity takes hold—not a ‘question-driven’ curiosity–but a quiet immersion in the unfolding moment. It feels familiar, but distant; intimate, yet undeniably alien–the more we surrender to it, the more it transforms. We do not give our attention so much as we permit ourselves to drift along. With each passing moment, we are captivated anew, drawn into the throes of unexpected emotion.

The sonic world of SSAC42 seems to pull influence from various forms of electronic music on the fringes. We hear rapid, intricate drum patterns. We feel the warmth of synth textures, the soft glow of ambient pads collapsing gracefully into themselves. The airy vocals of K_anti play a significant role–gliding in over arrangements at unforeseen moments, bringing us closer to something vast and luminous. We never quite arrive, but feel as though we’re always approaching. The tracks are melodic without being grounded in melody. They coalesce, fracture, and reform. A pattern begins, and vanishes, swiftly replaced by something else entirely. Time loses shape; moments of breathtaking stillness recline over fierce drum sequences.

This warping of time is notable in the first track “everyth1ng 1n l1fe”, where soft atmospheric elements churn slowly above chaotic jittering drums. The juxtaposition stirs, generating an ongoing tension that is never resolved. Ethereal, washed out vocals pull us further into weightless expanse. Lush moments build up and transfigure, revealing new forms with each phrase. The second track “EXT10” takes us further into moments of unanticipated wonder. Through the turbulence, shifting elements are not mourned as they pass, but welcomed; we do not question their departure—we move forward with them.

The third composition, “dysph0r1a” opens with a clear vocal presence.  K_anti’s tender delivery occasionally rises above the evolving terrain of synths—fleeting, decipherable, then submerged once again. Later on, the sixth track “ap0calypse 42” carries us through a striking arc: from softness to percussive fury, and back into calm. The transformation is tumultuous, but also cyclical—destructive and restorative in turn.

The shapeshifting quality of the album can feel disorienting. Just as we find comfort and predictability, it dissolves. Familiarity is teased, and withdrawn. Perhaps it is in this instability that the core of SSAC42’s potential lies. As the unending search for meaning in our human lives is consistently upended and reimagined, SSAC42 seems to quietly posit that moments of solace will reveal themselves amid the chaos; wonder and enchantment persist if we are willing to stay open.

Words by M. Elijah Sueuga



IM120 - Bios Contrast & Nilotpal Das - SSAC42

OMAAR - Neo Form
Label: Infinite Machine
CAT#: IM121
Format: Digital
Release Date: September 26th, 2025

Mexico City rhythm maestro OMAAR lands on Infinite Machine for his latest missive, Neo Form: five tracks of skeletal, relentless drum workouts. His sound has never been more optimized than here, as if all his usual elements of UK Funky, Hard Drum, Jungle and Techno had been distilled into a powerful, crystalline concoction primed for the dancefloor.

These tracks are not meant for home listening, but any DJ worth their salt will recognize their immediate power: every last drop of impact and effect has been squeezed from each element, every new hi-hat or hand percussion heightens the intensity of the loop. The tracks are the opposite of progressive; they seem content to stay where they are and placidly explore the grooves’ every crevice and nook.

IM121 - OMAAR - Neo Form

IM089 - @galtier - Pulchra Es Elementis
Label: Infinite Machine
Release Date: September 24th,2021
Format: 12" / Digital

With 10 years in the ‘biz’ firmly under his belt, Jiah Wells is poised to release the first full-length LP of his Galtier project, Pulchra Es Elementis. Whilst Galtier is arguably one of the originators of the percussive style that would eventually fall under the Hard Drum label, the heightened theatrics of his recent output have seen him channel Blade Runner-styled sonics and move further away from absolute club functionality. Whilst Galtier’s output often seems to soundtrack hypothetical, off-planet words, Pulchra Es Elementis turns the focus inwards: towards Wells’ own emotional constellation, his evolving spirituality and his attempts to tap into planes of existence beyond the tangible. The album’s Latin title translates to ‘Elements are Beautiful’ and encapsulates the artist’s belief that there is grace in all of life’s aspects; pushing past what we deem as good or bad, minuscule or massive.

Pulchra Es Elementis begins with Crystalised Larva, a brooding opener of breathy pad synths and expansive kick drums which reverberate through the mix as if the hits originate from the bottom of a valley. There’s an indistinct sense of tension on this track, in part due to a central melody, which never resolves but only descends lower in pitch. This tension turns to explorative wonder on Wilfull Saviour, where a mirage of musical ideas come in and out of focus. Although the sonic worlds Galtier explores are internal to him, Wilfull Saviour still possesses that sense of a cosmic journey we’ve come to expect from Wells; an ardent fan of dystopian films and literature.

Continuing this emotional odyssey, Bruised, But Not Broken sees the artist push deeper into the psychological undergrowth; its murky tonality juxtaposes crisp, Reggaeton-inspired drum patterns with a heavily compressed one-note synth line that modulates wildly - cutting through the mix like a nagging thought that won’t leave your mind. Next up is U Were, U Are & What U Will Be, one of the more club-ready tracks of the LP, which gets us moving with a snarling bassline and layers upon layers of percussive hits and inflections.

At Pulchra Es Elementis’ mid-point is the LP’s title track, a drumless interlude where blissful, shimmering synths create a patchwork of intensities. Galtier’s approach to songwriting shines through here; ignoring musical pragmatics, he opts to feel his way through his compositions without knowing where they might end up. Following on from that weightless breather, Phantasiai turns up the freneticism with its head-spinning mix of drum programming and a glitched-out synth line that yo-yos up and down octaves. Things get even more furious on the Superficie-featuring Cavernam, a hollow Hard Drum banger inspired by Eskibeat sensibilities and designed to create a sense of self-implosion.

The album’s penultimate track, (U Are) Beautiful, is a tale of two halves: beginning with a moment of serenity as synthesizers swell like an ocean tide before evolving into a marching crescendo of raw energy. Rounding off the album, Shine Forth hurtles through pacey drum work and all manner of strange zaps and klaxons before giving way to a final dose of nebulous ambience.

A musical journey unlike any other ‘club music’ albums, Pulchra Es Elementis is an LP that demands to be consumed in one sitting. Reflecting on his place within the universe and the musical landscape, the album could be viewed as a musical exorcism which sees Galtier working through and shedding huge chunks of his ego that stuck to him out of fear of the unknown. Pulchra Es Elementis begins on an insecure, overwhelming or, even, existential note before rounding off with a related sense of vastness seen with new, more positive eyes. It’s a voyage we hope you will join him on.

Galtier - Shine Forth

IM096 - @aroent - Say
Label: Infinite Machine
Release Date: May 27th,2022
Format: Digital
Artwork by Vojd

Following on from a release-packed 2021, Infinite Machine are back with a new 4-track offering from the relative newcomer, Aroent. Across 3 new original cuts (plus a rework by UK dance royalty, Ploy) the Berlin-based producer delivers some serious rollers crammed full of gnarly drumwork and a pervasive air of unease. Like the strange, abstract creature of the record artwork, the music of Say EP is an amorphous beast, mixing the dense arrangements/layering of 90s IDM records with the off-kilter and swung beats of UK Techno and Funky.

The EP opens with its title track; a whirl of snaps, claps and phantom samples all firmly underpinned by an acid-inflected bassline. Aroent embracing of chance and luck in his compositions is evident on this track, throwing in idiosyncratic automations and randomizers to grow and evolve the tune over its 5 minute duration. The vox samples (stolen from Breaking Bad) seem to decay and fall inwards on each other on ‘Say’, as if the song is soundtrack to a decaying and corrupted society (not dissimilar to Heisenberg’s).

On ‘Rolling Oddities’, Aroent’s love for the Bristol bass & techno scene really shines through clearly. A track that seems almost built for a spinny night that rolls on until the morning, the song really does what it says on the tin with its combination of driving, rhythmic elements and it’s smattering of pretty out-there decisions in terms of arrangement and sound processing. This is a definite must-listen tune for fans of Batu, Lurka or Hodge.

Next up, ‘Bobcat’ takes things in a slightly more buoyant and ecstatic direction with its ever-rising filters and muted percussion that seems like it’s dancing along on tip-toes. On this song especially, Aroent’s genre-agnostic approach to production is abundantly obvious with elements of techno and bass sitting alongside kick drums that wouldn’t feel out of place on some Jersey Club tracks.

Ploy brings up the rear on Say EP with a ferocious ‘Skeletal Tool remix’ of the releases’ title track. Taking a reductionist approach to his rework, the Timedance signee strips out some of the originals’ more hyperbolic or dramatic elements and reduces it to a polyrhythmic, semi-genreless heater. Seriously - you try and pin this edit down to a single ‘genre label’, I dare you!

Despite the small number of releases to his name, Say EP is a highly confident and well-realized offering from the Greek-born, Berlin-based producer. In a way, Aroent is already creating his own sonic signature that lifts and interpolates aspects across the UK Bass spectrum and turns it into something totally unique. This is music that lurks in the shadows of warehouse clubs.

Tracklist:

1. Say
2. Rolling Oddities
3. Bobcat
4. Say (Ploy's Skeletal Tool Remix)

Aroent - Say (IM096)

Renslink - !85 EP
Label: Infinite Machine
CAT#: IM103
Format: Digital
Release: May 26th, 2023
Mastered by Fausto Mercier
Artwork by Luis Tomita

UK producer Renslink calls IM103 his first effort focused on the dancefloor, but it belies a lifetime steeped in it. This is prime material for the most advanced of DJs.

The first cut, Static, blends heavy, droning atmospheric sound design with the half-time template of dubstep, complete with jungle vocals. Before reaching the first half, however, it goes into a healthy techno gallop, making the track a perfect set opener if drama is your thing.

From that we go into the three-on-two mindbend of In My Mind, full of beautiful rhythmic trickery and rave culture nods in the sampled female vocals.

Cenotaph feels like a Pinch & Mumdance dub that they kept for themselves around the Control/Strobelight era, all rolling, persistent kick, dubbed-out dready vocals and dystopian hoover.

In Touching The Void we find a moment of drama and relative tenderness, as cinematic strings and choir soar over a busy rolling breakbeat. Occasionally, the proceedings are punctuated by a reese bass and bleeps fill that keep it fresh (an you on your toes).

Closer Silence is a mutant dembow wobbler with alien vocals by Nivalis, like dancehall for after the nuclear apocalypse, when we’ll have all the extra limbs we’ll need to dance to music like this.

!85 EP

PRE-ORDER

Renslink - Static (IM103)

@despinadespina - Fire from Heat
Label: Infinite Machine
CAT#: IM105
Format: Digital
Release: October 20th, 2023

Despina was trying to write a follow-up to their 2022 record ‘Gravity Games’ on Kindergarten Records as they fell into a deep depression, during a harsh New York winter and against a backdrop of escalating legislative attacks on trans people in the USA. In the struggle to express themselves through music while maintaining their usual exuberant voice, they found a darker musical path, and ‘Fire From Heat’ is the result of exploring this path.

The title ‘Fire From Heat’ comes from the expression “heat from fire, fire from heat,” an expression that is used by the trans community in voice training and that was popularized by YouTuber Z from TransVoiceLessons. At the same time as Despina searched for their voice as a trans, non-binary person in a country continuously stripping the rights of their trans siblings, they found an alternate, musical voice through the extensive use of human and non-human voices. This dichotomy and the interplay of both voices became a conceptual thread that runs through the entire record. These voices are countered by rhythmic constraints, undulating cyclical grooves, sinister basslines, and interruptive structures that create a delicate interplay between the imagined speaker and an idealized dancer.

Artwork by Benfika
Mastered by Fausto Mercier

Despina - U Writhe

Diessa x Eyeza - Warp Sharks
Label: Infinite Machine
CAT#: IM109
Format: Digital
Release Date: March 29, 2024

Tracklist:

1. Karandras
2. Penitent Engine
3. Warp Sharks
4. Nuns with Guns

Artwork by Benfika

‘The Immaterium is a strange and terrible place. You might as well throw a traveller into a sea of sharks and tell him to swim home send him through The Warp unprotected.’

With “Warp Sharks”, UK producers Eyeza and Diessa join forces for a blood-curdling 4-tracker. Inspired by Warhammer 40K characters and lore, this boundary pushing EP combines dark themes of the 40K world with heavy club-focused weaponry.

“The Warp” is an alternate dimension of chaos and psychic energy underlying the material universe. It is simultaneously understood to be a medium by which faster-than-light interstellar travel is possible. “Warp Sharks” could be said to evoke these elements; high-bpm drum breaks throughout the record emulate a sense of frenetic speed while manic synth progressions and energy blasts build towards a sense of peril. Within each composition, multiple rave-friendly genres are saturated under a blanket of distortion and impact. The record opens with “Karandras,” where eerie vocals, arpeggios and heavy drums flow in and out of each other, with intermittent waves of static and sci-fi warble. “Penitent Engine” begins the next phase: gritty wobbles and drum breaks combine under washes of dramatic ambience before teasing in and out of a heavy techno beat. The track morphs into something more vicious two-and-a-half minutes in, where stuttering breaks come to the fore, supported by kicks and 808s that swarm rapidly in elaborate club rhythms. The title track follows with intricate breaks steadily firing over heavy bass lines. “Nuns with Guns” concludes the record, where gabber kicks snap through dub inspired vocal chops and fluttering snares.

The record’s relentless energy evolves with every track, each composition seamlessly blending genres of underground electronic music. “Warp Sharks”, like many Infinite Machine releases, is unapologetically experimental, while remaining accessible to dance floors.

Warp Sharks

Diessa & Eyeza - Warp Sharks (IM109)

Only Now & Sueuga - Cold Front
Label: Infinite Machine
CAT#: IM111
Format: Digital
Release Date: July 26th,2024

Bay Area raised Sueuga (Manolis Elijah Sueuga) + Only Now (Kush Arora) deliver metallic dancehall shelling on "Cold Front". Hollowed out soundsystem blasts pepper this 2 track outing, fit for San Francisco's pronounced dystopian locale.

The title track splices electrical discharges with robotic tabla bashment, eventually folding in on itself with pressure.

"Blood Freeze" lays out an icy riddim machinating into widescreen shockout, with crunching bursts and shutters flying on all sides. Throughout both tracks, Sueuga and Arora's heritage can be felt through the groove and instrumentation, reimagining sounds of the artists’ homelands.

Born of a friendship formed years ago, “Cold Front” is the duo’s first original collaborative effort. Since Only Now remixed a track of Sueuga's in 2021, the two have maintained a close relationship as Sueuga studied Art History and moved to Amsterdam, whilst Arora stayed in Berkeley.

Only Now & Sueuga - Blood Freeze (IM111)

Entrañas - Caverna
Label: Infinite Machine
CAT#: IM114
Format: Digital
Release Date: September 27th, 2024
Artwork by Benfika

Tracklist:
1. Indignado
2. Ajicito
3. Diclofenaco
4. Cruces
5. Cascada
6. Coscacho
7. Tigrillo (ft. Buena Tarde)
8. Nauseas
9. Toque De Queda (ft. Ene Ese)
10. Chivo
11. Muerto a Puntapiés (ft. Carlos Pabón)
12. Caverna

Ecuadorian producer Daniel Gachet “Entrañas” presents his debut full album Caverna on Infinite Machine. The project explores an amalgam of polyrhythms found in traditional Ecuadorian music such as bomba and albazo, blending them with jagged atmospheres of uk bass and grime. Through deliberate sound design, Entrañas seeks to place the listener within the unpredictable ecosystem of the city of Quito and its surroundings.

In this record Entrañas searches for a sound that conveys both the infrastructural chaos he experiences currently in his home city, while also reflecting the hauntingly beautiful and seemingly perpetual terrain just outside of Quito. Not far from the frequent and unpredictable power outages and city wide lockdowns which are now commonplace due to the ongoing narco wars, there is an Andean stratovolcano visible from many parts of Quito, including Entrañas own bedroom window. Ruco Pichincha stands nearly 5000m in height, attracting awe and curiosity of many who happen upon it, perhaps by way of its beauty as well as its innate potential for mass destruction. A particular location of interest for the artist, the mountain emits a kind of objectivity that is distinct from the urbanscape of human activity; it asserts itself, unobservant of the adjacent violence, trials and tribulations. Its very name–“Ruco” translated in English to "old" from the indigenous Quechua language–seems to reflect both its acquired reverence from native inhabitants of the region, as well as the relative incomprehensibility of such natural monuments.

On Caverna, references to Quito and its encompassing geography are apparent in ways that are direct at times, nuanced at others. “Toque de Queda” (trans. “lockdown”) was produced in real time during a city wide lockdown in which Entrañas and his collaborator Ene Ese were unable to leave an apartment for hours on end. The sheer apprehension of such a situation can perhaps be gleaned from the seething claps and non-melodic droning atmospheres that build, producing a tone of frustration and unease. Tracks like “Coscacho”, “Muerto A Puntapiés” and “Cruces” seem to take on a similarly minimal approach, focused on brooding heavy bass lines and relentless polyrhythms that become increasingly menacing as the tracks build. A listener might imagine these compositions to conjure the rumbling subterranean activity of Ruco Pichincha. As their names might imply, “Caverna” and “Cascada” take a different approach, building up shimmering soundscapes reminiscent of 90s new age. These ephemeral sequences seem to summon meditation on natural landscapes in a way that feels lighter and more optimistic, unveiling a softer vision.

In light of his prolific catalog, Entraña’s twelve-track work reaches into territory that feels both more personal and experimental–though these compositions are undoubtedly dance-floor ready. Caverna brings together anthems of leftfield club music with chambers of ambient reflection–both of which read as significant and distinct to the artist’s background and day-to-day experience in Quito. As the majestic and humbling mountainous surface of Ruco Pichincha might resemble, Caverna’s title track ends the record with a reminder; a gentle nod to the significance of such sacred wonders as places of refuge in our human experience; whether we can grasp them, or see them from our bedroom window.

Caverna

Entrañas - Coscacho (IM114)

Entrañas - Cascada

Entrañas - Cruces

Entrañas - Diclofenaco

Entrañas - Ajicito

Entrañas - Indignado

Lyo XS - Teyolia
Label: Infinite Machine
CAT#: IM117
Format: Digital
Release Date: March 7th, 2025

Tracklist: 

1. Resolución
2. Teyolia
3. Reflejo
4. Onirico (w/ Ezeta)

Infinite Machine is happy to welcome Lyo XS with the Teyolía EP. Well known in the Mexico City scene for their advanced DJ sets, Teyolía showcases a mature and equally advanced producer.

In an ancient animistic framework where the human being is made up of three parts, teyolía is a Náhuatl word that designates the heart or the heart’s energy and represents a person’s identity, along with tonalli and ihíyotl. For Lyo XS, teyolía stands for the soul, which manifests as the inspiration that flows through her music and the intuitive reflections that arise from the soul or heart.

The EP hits the ground running with opener Resolución, a broken techno bomb with deep sound design, a driving Shepard tone-like synth and militaristic snares for intensity.

The title track is a roller with an acid lead that sounds like Energy Flash for the apocalypse, a peak-time banger that never loses its sense of groove or atmosphere in the pursuit of aggression.

Third track Reflejo pairs an upbeat four-on-the-floor with pensive pads and insistent dubbed out stabs. The beat gets broken up around the middle and along with a new melodic bassline it  would bring to mind 2-step if it wasn’t so sparse. The track’s relentless drive is occasionally interrupted by what sounds like the entire arrangement melting, as will your head.

Fourth and final track, Onírico, is a collaboration with Mexico City up-and-comer Ezeta. A low-slung groove and a loopy flute sample give the track an infectious, broken bounce which eventually congeals into a breaky chug, perfect for opening sets.

Words by Nico

Teyolia

Lyo XS - Teyolia (IM117)

Lyo XS - Teyolia
Label: Infinite Machine
CAT#: IM117
Format: Digital
Release Date: March 7th, 2025

Tracklist:

1. Resolución
2. Teyolia
3. Reflejo
4. Onirico (w/ Ezeta)

Infinite Machine is happy to welcome Lyo XS with the Teyolía EP. Well known in the Mexico City scene for their advanced DJ sets, Teyolía showcases a mature and equally advanced producer.

In an ancient animistic framework where the human being is made up of three parts, teyolía is a Náhuatl word that designates the heart or the heart’s energy and represents a person’s identity, along with tonalli and ihíyotl. For Lyo XS, teyolía stands for the soul, which manifests as the inspiration that flows through her music and the intuitive reflections that arise from the soul or heart.

The EP hits the ground running with opener Resolución, a broken techno bomb with deep sound design, a driving Shepard tone-like synth and militaristic snares for intensity.

The title track is a roller with an acid lead that sounds like Energy Flash for the apocalypse, a peak-time banger that never loses its sense of groove or atmosphere in the pursuit of aggression.

Third track Reflejo pairs an upbeat four-on-the-floor with pensive pads and insistent dubbed out stabs. The beat gets broken up around the middle and along with a new melodic bassline it would bring to mind 2-step if it wasn’t so sparse. The track’s relentless drive is occasionally interrupted by what sounds like the entire arrangement melting, as will your head.

Fourth and final track, Onírico, is a collaboration with Mexico City up-and-comer Ezeta. A low-slung groove and a loopy flute sample give the track an infectious, broken bounce which eventually congeals into a breaky chug, perfect for opening sets.

Words by Nico

Lyo XS - Reflejo

dru-1 - preshuh
Label: Infinite Machine
CAT#: IM118
Format: Digital
Release Date: April 25th, 2025

dru-1's "preshuh" was composed in the artist's home of Trinidad during Carnival of 2024. Reflecting on the experiences and influences that shaped the record, UK-based artist Drew Lovett recalls inviting friends to stay with their family during the festivities, experiencing overproof rum, pan bands, card games, and doubles. Community and a celebration of sociality seem to shimmer through the EP's bass-ridden tracks, evident not-least in the prominent sound bites and vocals recorded on-site from those close to the artist during the Carnival.

The project unfolds across six tracks, each composition draped in FM synthesis and layered over gritty basslines. "preshuh" builds upon the

vision realized in the artist's debut project, a 4-track EP released on Why Be's Yegorka in 2024. This record punches with more technical precision, making a mature statement that feels cohesive and intentional, while retaining its playful essence. Lovett collaborates with Marta Rosa on percussion for the final three tracks—"maco queen," "palance," and "a4s."

Despite its moody basslines and clear roots in the UK club scene and Hard Drum, Lovett's EP is infused with a spirit of optimism and revelry. The EP opens with echoes of "toma!" and other indistinct cries, as timbale taps gradually build alongside jerky basslines in "diastema." The subsequent track "corbeaux," takes a more atmospheric approach, leaning further into lush melody progressions. Breath-like chirps fade in and out of the mix, allowing different melodic and percussive elements to shine at various moments. "Libido" calls the listeners to commune on the dancefloor, led by a steady four-on-the- floor rhythm. The hypnotic chant, "We come together," repeats with quiet assurance, woven through a backdrop of filtered basslines and dissonance. Crunchy, sputtering synths wind in and out of the soundscape, teasing a sense of chaos and rapture, grounded by the

steady rhythm beneath. In "maco queen," the record seems to reach a point of climax; jittering bass sounds overtake the atmosphere immediately. "Hey!" and "Ha!" shout over the flurries, punctuating the frenzy, while intricate low-end patterns and hand drums introduce moments of organic warmth. Percussive taps and clinks imagine an impromptu gathering of people jamming together. Here, Lovett seems to call us to let loose, to shout, to dance, to revel in excitement. The fifth track, "palance" unfolds over a steady four-on-the-floor rhythm, with intertwining synth lines that emerge and recede unpredictably, engaging in a dynamic interplay akin to an animated conversation among close friends. The EP concludes with "a4s," a vibrant, infused with Soca and Dembow breaks track that brings key elements from earlier songs—vocals, claps, and heavy basslines—crafting a dynamic yet cohesive finale.

Experienced in full, Lovett's EP is a call to togetherness—a sonic invitation to gather, move, and celebrate without restraint. Infused with the frenetic energy of the carnival where it was conceived, the project unapologetically embraces the dancefloor, urging bodies into motion, and spirits into communion. Beneath its pulsating rhythms lies

a deeper longing—not just for revelry, but for connection. In a world still relearning the rhythms of closeness, it asks: How do we rebuild the spaces where joy and community once thrived?

PREORDER

dru-1 - maco queen (IM118)

dru-1 - palance

dru-1 - libido

dru-1 - corbeaux

dru-1 - diastema

Listening to Bios Contrast–aka Nilotpal Das’--SSAC42 for the first time might be likened to the experience of watching sunlight shimmering on the surface of a body of water. There is an effortless spontaneity, a mesmerizing ebb and flow. There is a movement which continually reminds us of itself. We are drawn in without needing to understand why. Curiosity takes hold—not a ‘question-driven’ curiosity–but a quiet immersion in the unfolding moment. It feels familiar, but distant; intimate, yet undeniably alien–the more we surrender to it, the more it transforms. We do not give our attention so much as we permit ourselves to drift along. With each passing moment, we are captivated anew, drawn into the throes of unexpected emotion.


The sonic world of SSAC42 seems to pull influence from various forms of electronic music on the fringes. We hear rapid, intricate drum patterns. We feel the warmth of synth textures, the soft glow of ambient pads collapsing gracefully into themselves. The airy vocals of K_anti play a significant role–gliding in over arrangements at unforeseen moments, bringing us closer to something vast and luminous. We never quite arrive, but feel as though we’re always approaching. The tracks are melodic without being grounded in melody. They coalesce, fracture, and reform. A pattern begins, and vanishes, swiftly replaced by something else entirely. Time loses shape; moments of breathtaking stillness recline over fierce drum sequences.

This warping of time is notable in the first track “everyth1ng 1n l1fe”, where soft atmospheric elements churn slowly above chaotic jittering drums. The juxtaposition stirs, generating an ongoing tension that is never resolved. Ethereal, washed out vocals pull us further into weightless expanse. Lush moments build up and transfigure, revealing new forms with each phrase. The second track “EXT10” takes us further into moments of unanticipated wonder. Through the turbulence, shifting elements are not mourned as they pass, but welcomed; we do not question their departure—we move forward with them.

The third composition, “dysph0r1a” opens with a clear vocal presence.  K_anti’s tender delivery occasionally rises above the evolving terrain of synths—fleeting, decipherable, then submerged once again. Later on, the sixth track “ap0calypse 42” carries us through a striking arc: from softness to percussive fury, and back into calm. The transformation is tumultuous, but also cyclical—destructive and restorative in turn.

The shapeshifting quality of the album can feel disorienting. Just as we find comfort and predictability, it dissolves. Familiarity is teased, and withdrawn. Perhaps it is in this instability that the core of SSAC42’s potential lies. As the unending search for meaning in our human lives is consistently upended and reimagined, SSAC42 seems to quietly posit that moments of solace will reveal themselves amid the chaos; wonder and enchantment persist if we are willing to stay open.



Bios Contrast & Nilotpal Das - everyth1ng 1n l1fe (feat. K_anti) (IM120)

Bios Contrast & Nilotpal Das - dysph0r1a (feat. K_anti)

Bios Contrast & Nilotpal Das - XSCX

Bios Contrast & Nilotpal Das - espress0

Bios Contrast & Nilotpal Das - N0R

Bios Contrast & Nilotpal Das - EXT10 (feat. K_anti)

OMAAR - Neo Form
Label: Infinite Machine
CAT#: IM121
Format: Digital
Release Date: September 26th, 2025


Mexico City rhythm maestro OMAAR lands on Infinite Machine for his latest missive, Neo Form: five tracks of skeletal, relentless drum workouts.

His sound has never been more optimized than here, as if all his usual elements of UK Funky, Hard Drum, Jungle and Techno had been distilled into a powerful, crystalline concoction primed for the dancefloor.

These tracks are not meant for home listening, but any DJ worth their salt will recognize their immediate power: every last drop of impact and effect has been squeezed from each element, every new hi-hat or hand percussion heightens the intensity of the loop. The tracks are the opposite of progressive; they seem content to stay where they are and placidly explore the grooves’ every crevice and nook.

Neo Form

OMAAR - Technica

@prodomaar - Limited Drum (taken from 'Neo Form', out on the 26th of September via @infinite-machine)

Was it just me or OMAAR's 'Progressive Tribes' was one of the standout tracks of the previous decade? Fusing the raw intensity of hard drum with Mexican producer's percussive finesse, it certainly hit all the right notes to be a DJs' favourite club tool. Years went by and OMAAR kept on delivering the rumbling goodies, regularly enriching the catalogue of NAAFI with his trademark sound.  Now, he turns to Infinite Machine for his latest release which sees the usual relentless drum workouts mix with elements of jungle, uk funky and hard drum.

[PREMIERE] OMAAR - Limited Drum (Infinite Machine)

✶ SWINE PREMIERE ✶ Check out the new single by @prodomaar from his upcoming project "NEO FORM" on @infinite-machine 

☛ The release will be out on September 26th

Mexico City rhythm maestro OMAAR lands on Infinite Machine for his latest missive, Neo Form: five tracks of skeletal, relentless drum workouts. His sound has never been more optimized than here, as if all his usual elements of UK Funky, Hard Drum, Jungle and Techno had been distilled into a powerful, crystalline concoction primed for the dancefloor. 

These tracks are not meant for home listening, but any DJ worth their salt will recognize their immediate power: every last drop of impact and effect has been squeezed from each element, every new hi-hat or hand percussion heightens the intensity of the loop. The tracks are the opposite of progressive; they seem content to stay where they are and placidly explore the grooves’ every crevice and nook.

[Swine Premiere] OMAAR - Neo Form (Infinite Machine)

OMAAR - Failure

OMAAR - Drummer

MIRA新伝統  - Mythoplaxy  
Label: Infinite Machine 
CAT#: IM123 
Format: Digital 
Release Date: January 16th, 2026

Official Video for 'The Fall of Metatron' - https://www.youtube.com/watch?v=W_mddM14TWU

With Mythoplaxy, MIRA新伝統 present a departure from both the tropes of dystopian club acceleration and the conventions of gallery-coded performance. Across stage and studio, the duo have cultivated a performative language that fuses Shinto-derived ritual with the communal, itinerant traditions of popular theatre and mythic storytelling—echoing forms from ancient satyr plays to medieval cycles—set against the spectral terrains of post–techno-capital collapse.

The album comprises eleven sonic tales—ranging from electronic ballads to mythogenic fragments—conceived as the rudiments of a symbolic architecture. Each piece invites listeners to imagine the myths and ruins we might forge and choose to carry from this world into the next, echoing the propositions of Italian philosopher Federico Campagna.

Accompanying the release, the video for The Fall of Metatron introduces Lambdochian, a script devised by the duo from lambda-calculus diagrams and Lojban phonetics. Conceived as a poetic instrument, Lambdochian operates in the tradition of Egyptian hieroglyphs as opposed to demotic: not a vehicle for everyday writing, but a sacred medium for myth, ritual, and transmission.

MIRA新伝統 - The Fall of Metatron (IM123)

2rana 3crana - The Mountain Holds A Dagger EP
Label: Infinite Machine
CAT#: IM124
Format: Digital
Release Date: November 28th, 2025

"Creating ecstatic, alien fusions of industrial, UK bassline and Afro-Portuguese dance music, 2rana 3crana - the project of Gum Takes Tooth’s Jussi Brightmore - announces their new EP The Mountain Holds A Dagger for release November
28th  on Infinite Machine. Shaped by a period of personal tragedy and physical incapacitation, it is a strange, vital celebration of life and movement" 

2rana 3crana - Cutting Beam (IM124)

Artist: Warsnare
Title: Warchestra
Format: Digital (Album)
Release Date: February 23rd, 2018

At the time of writing this, Daniel Potter, pka Warsnare, is racing across his native London, in a veritable juggling act of creative effervescence – putting the finishing touches to his full-length debut, "Warchestra"; rehearsing tomorrow's eponymous 360° preview show at The Albany Theatre (with himself on synths/piano and a full string ensemble); overseeing the post-production on the first music video in support of the album; graciously making time to coordinate with us on the release of this modern opus via Infinite Machine. As we skype, he seems (other than, obviously, very busy) equally apprehensive and enthused, equally exhausted and energized... but most importantly, unequivocally accomplished. True to his oeuvre's title's portmanteau, his path has been both uphill battle and graceful symphony – but he has deftly conducted both to their victory and resolution, respectively.

In late 2015, devastated and blindsided by the sudden, tragic loss of his mother, Daniel embarked on a grieving process more practical and inspired (and inspirational) than most of us can muster on our best day. Crossing the pond and immersing himself in the cultural hearth of Brazil, he would go on to assimilate the choro, the samba, the bossa nova and even touches of proibidão into his compositional vocabulary. Studying and collaborating with countless local talent, and then employing this collaborative elan back home as well, he meticulously accrued a truly holistic collection of works – furiously turbulent one moment, eminently soothing the next; blending the timeless humanity of virtuosic acoustic piano, strings and vocals, and the machinistic futurism inherent to jungle, breaks, grime and other incarnations of the UK hardcore continuum; engaging in both literal and figurative cultural exchange; and, lastly, but no less importantly, flirting with a generous injection of pop pizzaz. Few artists before Warsnare have attempted such ambitious cross-over endeavours, and even fewer have succeeded. We hold these few in well-earned reverence – Goldie, Roni Size, The Prodigy, Paul Woolford, etc. If "Warchestra" is anything to go by, he is well on his way to joining the pantheon.

The aptly-titled "Intro" starts us off with a titanic wall of sound, pitting simple waveform synth incursions against the might of a lilting string contingent - setting the stage for the titular war to come. "Syndrome" marries Charlie Stark's raspy baritone with a brooding, Zimmer-esque, never-resolving, ever-escalating ostinato string piece, and 130bpm junglism. "Live Life" keeps the jungle but pivots into more soulful melodic territory, punctuated by a luscious mantra performed by Vienna Shilling. "Kairos" recruits Mercury Prize nominated and Ted Hughes Award winning poet, playwright and rapper Kate Tempest for an arpeggio- and wordplay-heavy piece of orchestral grime. "Beautiful Day" then erupts as an ebullient piece of uptempo, bass-heavy, amen-laden, nigh-anthemic diva jungle... the diva in question being Vienna Shilling on her second album appearance. "Chronos" reiterates the mission statement of "Intro", this time via xenoid vocal manipulations and dramatic, narratively-charged piano runs. "Quanto Tempo" enrolls Belo Horizonte songstress Laura Lopes (no, not the Duchess of Cornwall's progeny) for an intoxicating cut of bossa nova house. "Tuner" maintains the contrast thesis of the album via its juxtaposition of junglist ferocity and music box tenderness. Lastly, "Without You" re-enlists Charlie Parker for a profoundly touching, elegiac interplay of dulcet tones, string slurs, piano heartbreak and broken beat interjections – both fitting closer to the album and full-circle moment in its context.

Mastered by Cyrcular Mastering.
Artwork by Greg Haynes
Words by Liar.

Warchestra

IM064 - Warsnare - Beautiful Day (Ft. Vienna Shilling)

Artist:  @bungalovv
Album: Donde Hubo Fuego
Release Date: April 24th,2020
Format: Digital

Buenos Aires-born producer Pablo Betas — known as Bungalovv — celebrates his return to the Infinite Machine family with the release of the enchanting debut album, Donde Hubo Fuego.

Proceeding his 2017 EP ‘Luz Mala‘, which was coined by THE FADER as 'an unlikely entente between the sinister and the seductive', his reappearance to the imprint is analogous to this. Currently residing in Berlin, Bungalovv is also a founding member of TRRUENO, a collective and label that was born in Buenos Aires, united by new technologies as a resource and means to expand the spectrum of aesthetic possibilities in electronic, experimental, performance and audiovisual scenes.

Pulling inspiration from a diverse appetite comprised of dembow, obscure club experiments and animalistic synthesis, Bungalovv also utilises foley recordings exceptionally across the ten tracks. Flickers of the album opener ‘Bandera Robada’, are a cautionary suggestion of what lies ahead. And with antagonistic titles like ‘Soil Taste’ shaped from stabbing timbres and unpredictable time signatures like an Omni-angular sonic attack, you get pulled into a sinful parallel universe as the LP progresses. Cries of distortion, time-stretched cinematic doom, and unquantised ASMR excerpts are glued together like a tapestry, laying among devastating blows that meteor into a landing pad of extraordinary composition.

Complimentary of his mind-bending DIY live performance, the album is beautifully balanced, humanised, mechanical and elegant. Releasing in late April, this is by far Bungalovv's most refined and developed work to date.

Artwork by David Streleck
Mixed by Ro Stambuk & Sergey Kolesov
Mastered by Kamil Sarkowicz

Release date:
24 March 2020

Donde Hubo Fuego

Bungalovv - A quema ropa (IM076)

Artist: @benfikaa
Album: Ruinas
Release Date: June 26, 2020
Format: Digital

Carlos Marta is the Tijuana-based producer behind Benfika, an enigmatic music project from Infinite Machine that released his debut on the imprint back in 2015 with the EP 121214, taking him to open for Four Tet, Ben Ufo and play at Mutek festival in Mexico. In his most recent comeback Ruinas, he presents a mystical and ethereal release where he unveils his most overwhelming and rousing side with 5 absorbing and captivating tracks.

Ruinas is an eerie exploration on organic, celestial and crystalline sounds. A set of compositions effused in a synthetic and futuristic orchestral experience that incites cathartic sensations. The warm and meticulously put-together melodies of the 5 pieces that compose this EP generates a utopian sonic environment with otherworldly and mystical backgrounds.

Influenced by the powerful narrative components in Benfika’s production, Ruinas summons the memories and resilience of another dimension, where mythical surroundings emerge with arcane possibilities. Cyclic imaginaries of ancestral yet futuristic references collide in a dialogue between mixed dualities; pain and healing, desolation and disclosure, uncertainty and hope, evoking the feeling of an ongoing transformation.

The carefully processing on the melodies, samples and tonalities that Benfika meticulously assembled in 
Ruinas don’t follow an accurate musical structure but were rather conceived as a living sonic-ecosystems, dissolving in complex layers of aerial ambiences.

In Exodexo the delicate harmonies of otherworldly frequencies resonate like an alien whisper while the gathering of synthetic voices in Pentimento creates a sacred invitation for a futuristic ritual. The deep and trance-indulging sonorities of Mundo Schizo crash with a percussive field of disruption, and the uncanny atmospheres of Ríos de Azoth dissolves for the unearthly vibes of Ollín, where overwhelming choruses and dislocated pianos mutate in immaculate melodies.

Ruinas It’s a promise of a new beginning, where devotional possibilities can coexist with the inherent chaos of spirituality. It is music created from a wide perception of entropy and the prospect of becoming-with transmutation. A reprogramming of the organic existence for unphysical transcendence.

Rituals that stream violently
through infinite cracks in time
generational chants stored in the abyss
reveal intrinsic shadows coded into every seed.

Tracklist:

1. Exodexo
2. Pentimento
3. Mundo Schizo
4. Rios de Azoth
5. Ollin

Artwork by Benfika
Mastered by Kamil Sarcowicz

Ruinas EP

Ruinas

Benfika - Exodexo (IM078)

Artist: @galtier
Catalogue Number: IM079
Album: Dancing On Ruins
Release Date: July 31st, 2020
Format: Digital
Artwork by @benfikaa
Mastered by Kamil Sarcowicz

Making his return to the Infinite Machine catalog is Nostro Hood System boss Galtier with his 3 track EP ‘Dancing On Ruins’; a relentless slug of driving percussion and discordant atmospheres. Taking quite a step from his 2018 ‘Terran’ EP released on IM, Galtier abandons the hopeful, up-lifting, sometimes euphoric mood that has characterized much of his sound for the last few years and flexes his ability to handle anxious, hard-hitting techno-influenced material – a healthy departure from the purposeful, existential theme evident in earlier works.

‘Dancing On Ruins’ is characterized by its dusty, weather-beaten sound palette, as if such music was created and played in a desolate, lifeless world to provide solitude for the stoic beings that reside there. It is fast and aggressive, utilising techno-esque sonics as its base, yet it avoids being scary or oppressive or too stereotypical in nature.
‘
Scuffed Souls’ leads into the chaos with the pounding force of its 909 kick that thumps over the ever-evolving, fundamentally gothic sequence of melody. It is menacing and daunting to say the least, and gets straight to the point. Rhythmically it is reminiscent of classic rave-inclined techno but draws for quick transitions evident in contemporary club music. Crisp, pointed hi hats play gracefully amongst the angry soundscape and are quickly scared off by the growling Moog bassline that rumbles in to occupy the decrescendo.

The rhythm is broken and far more syncopated on ‘Precious Quartz (To Reave), which likewise increases in BPM from 140 to 148. Being the most stripped back, percussively oriented track on the whole release, Galtier flexes his capacity to execute myriad shifts in rhythm and pace as the majority of the track chugs along, the vessel made up of a its short but monstrous kick, sharp hi hat slashes, restrained 909 rides and a mutated bell call – warning others of its approach.

Finally the namesake of the EP, ‘Dancing On Ruins’, takes place, leaving the zenith of the release’s unnerving energy for last. Galtier combines elements of UK Techno rhythm with loose UK Funky instrumentation and meshes the two and speeds things up significantly. Though the rhythm returns to a more pulsing, simply structured state, the hollow lead is pulverising and raw throughout the whole track. This, accompanied by the blistering 150 BPM tempo, makes it a vicious, restless beast.

Tracklist:

1. Scuffed Souls
2. Precious Quartz (To Reave)
3. Dancing On Ruins

Dancing On Ruins

Galtier - Dancing On Ruins (IM079)

Artist: @daemondaemon & @therealendgame
Catalogue Number: IM082
Album: DXE
Release Date: October 30th, 2020
Format: Digital

Following up his debut on Chino Amobi’s Intelligent Models with ÆOS, critical lyricist DÆMON teams up with Hyperdub’s affiliate and dark alchemist Endgame for a forceful collaborative EP that summons haunting ambiences with powerful passages and persuading rhythms.

Oscillating between the xenomorphic vocal capacities from DÆMON and the haunting club explorations of Endgame, DXE is a collection of industrial compositions that conceive an esoteric setting where two colliding forces unite for an intriguing and provocative exordium. A correspondence that inherits the divergent influences of the counter cultural soundscapes of Oakland and London - the artists hometowns - in a prodigious way.

The dark approach on the dancehall-inspired vocal performance from DÆMON is a highlight that contrasts with the experimental impressions of Endgame’s production, switching widely from punk to dembow motives within a contemporary take on overwhelming electronic explorations as a divergent complement that enrich the duo's exhilarating approach.

Introspective scopes define each track from the record. Let me breath is a crushing encounter for the prosaic verses of DÆMON, as his spoken word opens up a sonic void with overdrive motives. While the indulging energy of Queue shows off a more danceable side of DÆMON with a demonical dancehall inspired beat, in Eye Teeth, his bars match perfectly with the cybernetic warfare melodies from Endgame. Hearing him sing about being wounded within the act of liberation in Caged consolidates an acute poetry that fits thoroughly within a grinding techno beat, a devastating apocalyptic ballad culminates the record where an ethereal vocal from Deka repeats subtly on 530I.

It might be the presaging lines from DÆMON embracing the powerful and ominous production from Endgame that makes DXE a dark and a futuristic experience, envisioning a forward-thinking piece of puncturing yet suggestive experimental dance record.

Mastered by Fausto Mercier
Artwork by Francesca Landi

DÆMON & ENDGAME - Eye Teeth (IM082)

Name your Price

Eden Aurelius - Broken Fangs(ft Millia Rage)

Record Label based in Mexico City.
Founded in Montréal, Est. 2011 by @xwolfcultx.

for sync & licensing - gavin@syncsmith.com

Bookings: allen@awesome-agency.com
Temporary Contact: iinfinitemachinee@gmail.com

Infinite Machine

Pinned to spotlight

Popular tracks