Born in Buenos Aires and currently based in Montreal (CA), Jaijiu is an audiovisual artist influenced by the Argentine club sound, as well as its folklore and cumbia. His productions approach the rhythm in an edgy way, mixing his roots with current influences.

This release is intended for an imaginary and confined dance floor. It is danceable, while groundbreaking and uncomfortable, as the audio is pushed to the limit in search of drowning out all thoughts in volume and excess. In Jaijiu's words, “the louder it gets, the less I hear what's in my head.”

“42 AM” captures the distorted sound of our previous releases, but also brings kuduro, Latin music and noise to the table. It will be available as digital download via Nodo Label.


All tracks produced and composed by Jaijiu
Except track 02, Original by Juait
Mastered by Sky Parnes
Artwork by Andreneverdie/ Ramanat Kuran

42 AM

See here for more info: bit.ly/3m41lYo

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Imaabs, (2021) mix. Courtesy the artist.

Soundtrack for Amy Dellar's short film "Birthday Wish," for Atomos Global. https://www.instagram.com/p/COuvNSPH1CE/

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Ytem invite HOWE - 15 Décembre 2021

XAN feat. Personalbrand - 21/12/2021

@ytem's experimental style blends influences from electronic and classical music, providing him with a chimera-like artistic persona - he manages to deliver atmospheric soundscapes and electric dancefloor-ready sets just as fluidly.

Catch Ytem every 4th Wednesday of the month from 22h to 00h [CET] on rinse.fr

Ytem invite Chams - 16 Février 2022

@ytem
@djlindax
a rare collection of slow-ish dancehall, trance & rnb influenced beats

Honeymoon Phase 008 • Dj Lindax invite Ytem

helios hex spoken into reality. 

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or:
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EXUBERANCE

Disembodied vocal, breakbeat abstraction and ambient texture coalesce as x/o transgresses gender binaries.

'Chaos Butterfly' is out April 4th on Precious Metals.

Pre-order: bit.ly/3K2ygpp

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@preciousmetalsx

Premiere: x/o - Initiation Relic [Precious Metals]

IM099 - BOLT RUIN - EHKTA
Label: Infinite Machine
Release Date: September 30th, 2022
Format: 12" / Digital

Infinite Machine is proving again it’s a label that refuses to sonically sit still. Having released everything from code-based compositions to bass-heavy techno in 2022, the imprint is readying the release of the black metal-tinged Ehkta by BOLT RUIN later this month. A musician whose work has been described as ‘apocalyptic’ more than once, on this new mini-album, the Belgian producer blends field recordings, twisted samples and rave signifiers with an eerie tonality born out of his nocturnal production sessions and time spent absorbing the silence of his studio garden.

Bridging the gap from his previous record to this one, ‘Sktone’ is a cinematic opener that unfolds like a bad dream in slow motion. Warped samples of Bulgarian choirs glide over synths wired in closed-circuit loops which feed back on themselves, degrading for infinity. Texture and space is added via field recordings of waves crashing over the ruins of ​​Brighton West Pier. This track exemplifies the unexpected influence BOLT RUIN took from the wildlife he witnessed in the garden of his urban studio when working on Ehkta. Adapting to the material at their disposal, weasels and blackbirds create nests from organic waste and human trash - an astute metaphor for the Belgian producer’s compositional approach.

Next up, BOLT RUIN drives up the tempo with the rave-ready ‘Nehng’, where a frenzy of trance arpeggios and frantic drum programming builds and intensifies over its 5-minute duration. Inspired by Yves Klein’s ‘Leap Into a Void’, ‘Nehng’ definitely evokes that bodily rush of freefalling into the unknown. ‘Nehng’’s driving rhythm is switched out for the brooding ‘Tzarhk’ - an ode to the soundtracks of B-movies composed on a vintage Roland SH-2 (a prominent character of the Stranger Things soundtrack). BOLT RUIN runs thick, syrupy synth slabs and punishing drum patterns through a rain-soaked limiter the producer found lying on the street by chance.

Another master-class in self-destructive arrangements comes in the form of ‘Rfohmdrá’ as delicate pianos and synth tones atrophy through daisy chained pedals which erode the signal. Valgeir Sigurðsson’s mastering skills shines through here, taking BOLT RUIN’s sci-fi-meets-metal sonics and amping them up to a scale on par with the Björk or Ben Frost records he’s previously worked on.

Conceived of as the mirror reflection of the LP’s opener, ‘Maevr’ pushes the approach of ‘Sktone’ to an even more nightmarish extreme. Embracing chance, the clattering layers of beats are sampled of a knocked mic on a window as BOLT RUIN attempted to capture a recording of rain from his studio. A happy and very effective accident for the foreboding mood of the track!

BOLT RUIN rounds off Ehkta with ‘Ekztamnh’; an ode to that specific sensation of entering through a corridor to a rave and hearing the rumble of a soundsystem from afar. Snarling melodies are run through a reverse granular delay effect which fragments the signal, reverses it and plays them back in irregular order; much like the shattered memories of a late night in a warehouse.

A musical magpie who finds inspiration in the most unlikely of sources, Ehkta is a restless exploration of salvage-punk aesthetics where doom-laden black metal melodies, amen breaks and an experimental approach to sound design sit in an irregular and uneven musical apocalypse. For fans of Blanck Mass or Caterina Barbieri - this is a must-listen material from a fresh producer establishing himself with a singular musical voice.

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