IM110 - Alec Pace - Spherae

Liliane Chlela - Anatomy Of A Jerk
Label: Infinite Machine
CAT#: IM112
Format: Digital
Release Date: July 5th, 2024
Artwork by Richard Kahwagi
Mastered by Fausto Mercier

Tracklist:

1. Bison
2. bza2
3. Friendly Fire
4. Ouverture
5. Rave Melancho
6. Third Fraud
7. Did I Stutter
8. The Right To Offend Itself

Liliane Chlela’s ‘Anatomy of A Jerk’ reflects on sonic storytelling, experimenting with the compositional frameworks under which it operates. The Beirut-born producer, dj and performer stands at the forefront of the independent electronic music scene in Lebanon, with a reputation for shattering expectations with her live auditory soundscapes, exploring improvisation and the manipulation of sounds from wide-ranging musical genres. Her fifth record (and first on Infinite Machine) steers further into such territory, warping manic synth patterns into percussive motifs, cutting abruptly in and out of poignant melodic interludes. Chlela’s sonic narratives begin, repeat, break apart, disappear and fold into themselves, encouraging contemplation of the compositional elements–the anatomies–that constitute them.

Each track is a meticulous excursion–a melange of varied constituents carefully and uncannily arranged, sometimes coalescing, often deliberately breaking away from the song’s anticipated structure to bring forth unexpected moments of beauty. The first arrangement, ‘Bison’, is exemplary of this, where high intensity metallic stomps, clangs and stabs form a rhythm that is frequently interrupted and broken apart, sometimes by evasive melodies that tease the listener before fading.

‘Bza2’ and ‘Friendly Fire’ move further into the discomfort of unanticipated moments and interruptions. In each, haunting strings and synth-pad melodies start and stop, floating and pausing over jitters and stutters of mechanical percussion. Other tracks move further into the atmospheric, creating dramatic, theatrical soundscapes. ‘Third Fraud’ leans into this approach, where string progressions and cinematic drums tell a story that is less affronting.

Like previous works of Chlela, these eight compositions reach into a difficult space that is only rewarded with careful attention, patience and openness. The arrangements are invigorated by the distinct nature of the compositional fragments; seemingly divergent patches, sounds and rhythms are paired across an eccentric timeline, providing ample opportunities for listeners to relish in the sudden jerk of the unforeseen.

IM112 - Liliane Chlela - Anatomy Of A Jerk

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

@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)

Alec Pace - Spherae
Label: Infinite Machine
CAT#: IM110
Format: Digital
Release Date: May 3, 2024

‘Spherae’ marks the return to scenes of Turin-based producer and DJ Alec Pace landing now on Infinite Machine with a mind-melter EP aimed for the club.

Following a 2-year long hiatus from his latest original work ‘Future Now?’ and previous releases on acclaimed labels such as All Centre and Nous Disques, the Italian producer delivers a new psychedelic blend of post-grime and experimental-bass condensed into a powerful club-ready 4-tracker.

Opening track ‘Preemah’ is a dance-floor heater which plays with the alternation of perpetual crescendos and heavy kick-drops, the rhythmic session is based on a glitchy jersey-club beat while the melodic elements work with uplifting synthesizers and heavy manipulated field recordings.

The explorations continues into title track ‘Spherae’, a peak-time ‘ode to speed’ which twists elements and a rhythmic session borrowed from the D’n’B scene while mangling them with ‘pointillistic’ synthesizers and hyper-effected spooky vocals.

‘Khroma’ follows next, a dark and psychedelic roller which will bring the listener into more obscure sound landscapes which delivers robotic GQOM-inspired beats with overdriven-glitchy synthesizers and tribalesque chants.

The alien-shaped beats of ‘Qubo’ closes-down the release with its glitchy-old-skool-electro vibe, combining a rhythmic session which borrows elements from the old-skool electro with analog generated percussions and field recordings.

While touching GQOM-esque and post-grime atmospheres and both pushing BPM-speed limits forwards, ‘Spherae’ explores further into experimental-territories yet remaining true to its club nature.

Alec Pace - Khroma (IM110)

Turin-based artist and early reflex gaffer @alecpace delivers four bass-charged club concoctions on @infinite-machine

‘Spherae’ is out 3rd May – have an exclusive first listen to the title track.

More info: https://djmag.com/listen/premiere-alec-pace-spherae

Premiere: Alec Pace ‘Spherae’

✱ SWINE PREMIERE ✱ @alecpace via @infinite-machine ✱

✢ ‘Spherae’ marks the return to scenes of Turin-based producer and DJ Alec Pace landing now on Infinite Machine with a mind-melter EP aimed for the club.

✢Following a 2-year long hiatus from his latest original work ‘Future Now?’ and previous releases on acclaimed labels such as All Centre and Nous Disques, the Italian producer delivers a new psychedelic blend of post-grime and experimental-bass condensed into a powerful club-ready 4-tracker.

✱ Pre-order via Bandcamp ✱
infinitemachine.bandcamp.com/album/im110-alec-pace-spherae

✢ While touching GQOM-esque and post-grime atmospheres and both pushing BPM-speed limits forwards, ‘Spherae’ explores further into experimental-territories yet remaining true to its club nature.

Infinite Machine

Preemah

[Swine Premiere] Alec Pace - Preemah [IM110]

Alec Pace - Spherae
Label: Infinite Machine
CAT#: IM110
Format: Digital
Release Date: May 3, 2024

‘Spherae’ marks the return to scenes of Turin-based producer and DJ Alec Pace landing now on Infinite Machine with a mind-melter EP aimed for the club.

Following a 2-year long hiatus from his latest original work ‘Future Now?’ and previous releases on acclaimed labels such as All Centre and Nous Disques, the Italian producer delivers a new psychedelic blend of post-grime and experimental-bass condensed into a powerful club-ready 4-tracker.

Opening track ‘Preemah’ is a dance-floor heater which plays with the alternation of perpetual crescendos and heavy kick-drops, the rhythmic session is based on a glitchy jersey-club beat while the melodic elements work with uplifting synthesizers and heavy manipulated field recordings.

The explorations continues into title track ‘Spherae’, a peak-time ‘ode to speed’ which twists elements and a rhythmic session borrowed from the D’n’B scene while mangling them with ‘pointillistic’ synthesizers and hyper-effected spooky vocals.

‘Khroma’ follows next, a dark and psychedelic roller which will bring the listener into more obscure sound landscapes which delivers robotic GQOM-inspired beats with overdriven-glitchy synthesizers and tribalesque chants.

The alien-shaped beats of ‘Qubo’ closes-down the release with its glitchy-old-skool-electro vibe, combining a rhythmic session which borrows elements from the old-skool electro with analog generated percussions and field recordings.

While touching GQOM-esque and post-grime atmospheres and both pushing BPM-speed limits forwards, ‘Spherae’ explores further into experimental-territories yet remaining true to its club nature

Alec Pace - Qubo

PRE-ORDER

Liliane Chlela - Bza2 (IM112)

Pre-order: https://infinitemachine.bandcamp.com/album/im112-liliane-chlela-anatomy-of-a-jerk

@lilianechlela’s ‘Anatomy of A Jerk’ on @infinite-machine reflects on sonic storytelling, experimenting with the compositional frameworks under which it operates.

Each track is a meticulous excursion – a melange of varied constituents carefully and uncannily arranged, sometimes coalescing, often deliberately breaking away from the song’s anticipated structure to bring forth unexpected moments of beauty.

Anatomy Of A Jerk

More exclusive music

Premiere: Liliane Chlela 'Rave Melancho'

Liliane Chlela - Ouverture

Liliane Chlela - Friendly Fire

Liliane Chlela - Bison

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)

Casanora invites listeners into fluid worlds with her new EP, ‘The Year of the Jellyfish.’ This collection dives deep, presenting sounds that swim, float, and flow, inspired by the breezes of Puglia and the warmth of the Mediterranean. Through a calming exploration, the EP captures the serene dance of jellyfish, inviting us to drift and discover beauty away from fast tempos.

With ‘The Year of the Jellyfish,’ Casanora creates a tranquil atmosphere amidst chaos, encouraging moments of reflection as thoughts wash ashore. This seven-track EP serves as an ode to freedom and the vastness of the sea.

The soundscape vibrates between realms, transporting listeners through calming tunes like ‘Floating Clouds’ and more energetic offerings like ‘New Sun.’ The music ebbs and flows, balancing relaxation with energy, provoking both nostalgia and awakening.

Casanora, a gifted sound designer, blends melancholic melodies with playful rhythms, crafting an experience that resonates deeply. Each track is an invitation to lose and find oneself simultaneously.

‘Dealer of the Sea’ not only previews the EP but also serves as an entry into an expansive new world, showcasing Casanora's unique sound. It offers a hypnotic pulse, creating a sense of immersion into the currents of sound, inviting listeners to lose themselves in its depths.

This EP caters to fans of experimental electronics, indie pop, and ambient music, aiming to engage both existing fans and newcomers alike through themes of self-discovery and deceleration. With ‘The Year of the Jellyfish,’ Casanora presents an enchanting soundscape that offers an alternative to life's hectic rhythms.

Notably, artist Jose enhances the EP’s experience with unique videos for each track, providing a poetic visual interpretation that deepens the musical journey, drawing viewers into surreal landscapes reminiscent of dreams.

‘The Year of the Jellyfish’ offers a sonic experience that resonates on emotional and intellectual levels, urging us to slow down and engage more deeply with our surroundings. It serves as a manifesto for deceleration, inviting us to escape daily stresses and emerge in a more tranquil reality.

Supported By Kultur Stadt Bern, SWISSLOS/Kultur Kanton Bern, Burgergemeinde Bern, Gesellschaft zu Schuhmachern und Migros-Kulturprozent.

Casanora, an acclaimed sound designer and multimedia artist, has garnered attention for her award-winning music. With a Bachelor in Sound Arts and a Master in Contemporary Arts Practice, her work has caught the eye of prominent media including Mixmag, Crack Mag, and BBC6. 
credits


Casanora - Purple Night

Casanora invites listeners into fluid worlds with her new EP, ‘The Year of the Jellyfish.’ This collection dives deep, presenting sounds that swim, float, and flow, inspired by the breezes of Puglia and the warmth of the Mediterranean. Through a calming exploration, the EP captures the serene dance of jellyfish, inviting us to drift and discover beauty away from fast tempos.

With ‘The Year of the Jellyfish,’ Casanora creates a tranquil atmosphere amidst chaos, encouraging moments of reflection as thoughts wash ashore. This seven-track EP serves as an ode to freedom and the vastness of the sea.

The soundscape vibrates between realms, transporting listeners through calming tunes like ‘Floating Clouds’ and more energetic offerings like ‘New Sun.’ The music ebbs and flows, balancing relaxation with energy, provoking both nostalgia and awakening.

Casanora, a gifted sound designer, blends melancholic melodies with playful rhythms, crafting an experience that resonates deeply. Each track is an invitation to lose and find oneself simultaneously.

‘Dealer of the Sea’ not only previews the EP but also serves as an entry into an expansive new world, showcasing Casanora's unique sound. It offers a hypnotic pulse, creating a sense of immersion into the currents of sound, inviting listeners to lose themselves in its depths.

This EP caters to fans of experimental electronics, indie pop, and ambient music, aiming to engage both existing fans and newcomers alike through themes of self-discovery and deceleration. With ‘The Year of the Jellyfish,’ Casanora presents an enchanting soundscape that offers an alternative to life's hectic rhythms.

Notably, artist Jose enhances the EP’s experience with unique videos for each track, providing a poetic visual interpretation that deepens the musical journey, drawing viewers into surreal landscapes reminiscent of dreams.

‘The Year of the Jellyfish’ offers a sonic experience that resonates on emotional and intellectual levels, urging us to slow down and engage more deeply with our surroundings. It serves as a manifesto for deceleration, inviting us to escape daily stresses and emerge in a more tranquil reality.

Supported By Kultur Stadt Bern, SWISSLOS/Kultur Kanton Bern, Burgergemeinde Bern, Gesellschaft zu Schuhmachern und Migros-Kulturprozent.

Casanora, an acclaimed sound designer and multimedia artist, has garnered attention for her award-winning music. With a Bachelor in Sound Arts and a Master in Contemporary Arts Practice, her work has caught the eye of prominent media including Mixmag, Crack Mag, and BBC6.
credits

Casanora - Floating Clouds

Casanora - Liquid Stars

Casanora - Water Lily

Casanora - Jetstream

Casanora - New Sun

Bios Contrast & Nilotpal Das - ap0calypse 42

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

Bios Contrast & Nilotpal Das - XSCX

Bios Contrast & Nilotpal Das - Blue Box Recovery

Bios Contrast & Nilotpal Das - espress0

Bios Contrast & Nilotpal Das - N0R

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

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: @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)

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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

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