@despina - 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

IM105 - Despina - Fire from Heat

@bonebrokk - In Between Two Worlds
Label: Infinite Machine
CAT#: IM107
Format: Digital
Release: November 24th, 2023

From the very start of Bonebrokk’s debut album, we are plunged into a downward spiral of industrial percussion and distorted voices. ‘Altered Realities’ builds a terrifying maelstrom out of what sounds like an engine in a deep tunnel, a seismic alarm, and a hype MC calling for help through a busted intercom. Soon a galloping kick appears and we are off to the races. From there, the record rarely lets up.

The sonic palette remains fairly consistent throughout, but the album covers a lot of ground rhythmically and stylistically, touching on deformed dancehall, hyperfuture dnb (Vassilina’s guest spot provides one of the few moments of relative tenderness), and loads of mutant, latin-inflected techno rollers. Two beatless interludes provide breathers—‘Timelines Melt’ and ‘Valey of Wolves’— although, as the titles might suggest, even these are steeped in dread.

Bonebrokk has crafted ‘In Between Two Worlds’ as a bridge into an imagined world that he can escape to, a respite from the banality of day jobs and our mundane everyday existence that club music can provide for us all.

IM107 - bonebrokk - In Between Two Worlds

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

Artist: @fausto_mercier / @trngs
Catalogue Number: IM091
Album: I'm Too Sentient
Release Date: June 25th, 2021
Format: Digital

Stepping in as a musical match-maker, Infinite Machine has paired up Fausto Mercier & trngs, two boundary-pushing sound designers, for a fresh EP of kinetic and visceral electronics. The pair are well suited to be partners in crime on I'm Too Sentient: both share a meticulously detailed approach to sculpting sounds as well as a keen interest in producing a sonic ‘uncanny valley’ in their output - manipulating organic sounds until their source is barely recognisable.

Fausto Mercier opens up I'm Too Sentient with Overcorp, a dramatic opener which only seems to get more frantic over time. Unfolding like an algorithmic Fibonacci spiral, Fausto’s musical ideas seem to shrink and appear within each other like fractal patterns. Towards the end of the track, the low-end drops out and is replaced by moody pad synths, an uneasy palette cleanser that glides over fidgety samples that refuse to sit still.

Next up, Bite Nails II Assert Dominance is another cerebral hit of complex, polyrhythmic laptop music. The beginning of this track seems far more ‘on-grid’ than Overcorp, but we are lulled into a false sense of security by Fausto who starts nudging samples into unexpected phrasings or squeezing new sounds into inexplicably small gaps within his drum programming. A real head-spinner of a tune!

Fausto’s final offering from the split, O O Doomscrll is potentially the most frantic moment of I'm Too Sentient. Humanoid-esque synths seem to wail through the arrangement, backed up by a punishing delivery of drum hits and manipulated organic sounds. As the title seems to suggest, O O Doomscrll could almost be considered as a soundtrack for our age of digital disorientation and social anxiety.

trngs opens up his half of the split EP with Organic Fabrication Core, a sonic headfuck if ever there was one. Jammed full of ideas and operating at break-neck speeds, trngs background in improvisational free jazz definitely comes to prominence in tracks like these.

Next up, trngs keeps the tempos fast with I'm Too Sentient For My Own Wellbeing - a track which sounds a bit like if Mark Fell had a breakcore side project. Musical stutters and iterative loops are abruptly swapped out for aggy kick drums which cut through the mix like a knife. The name of this song, again, nods to our accelerated virtual culture and the pressures that our contemporary information-overload can exert on us.

Rounding off the split, trngs’ () %%% () is a curious experiment across multiple temporalities and textures. Starting off serene and calm, the production degrades and glitches-out like an alien fungi permeating an ambient music culture.

An enthralling exploration of modern laptop musicianship, I'm Too Sentient is probably unlike anything you will hear this year. We suggest you press play and hold on tight.

Artwork by trngs

trngs - Organic Fabrication Core (IM091)

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)

Design Default - Quartz Silica EP
Format: Digital
Release: December 2nd, 2022
Artwork by Benfika

Marking the 100th record of the imprint’s prolific history, Infinite Machine are proud to present the release of Quartz Silica EP by new-comer Design Default. A self-described ‘tone scientist’, the Parisian delivers a 5-track of uniquely textural compositions which map out a sonic world influenced by dystopian anime titles like Trigun & Neon Genesis Evangelion. Like many on the IM discography, Quartz Silica acts almost like a simulation or audio-film representation of an abstract space you’re invited to traverse.

The EP opens with ‘Between Wasteland and Sky’; percussive assault on your senses which clearly exemplifies Design Default’s meticulous approach to sound design. Every detail, every sample and every automation is carefully considered to add to the heightened affective theatrics heard here.

‘A.S.K’ follows things up on this release, a highly inventive composition with a loose structure that evolves from phrase-to-phrase, refusing to sit still. Design Default’s interest in jazz and free-form arrangements is married up with an angular sonic palette of industrial groans and splutters; generating the impression of hearing a glitch (or hiccup, even) in the machine. There’s something refreshingly playful about the maximalistic breakdown of ‘A.S.K’ akin to the wry smile found in some of AYA and her YCO label’s output.

After two highly frenetic tracks, Design Default turns the tempo down slightly with the groove-laden ‘S.E.E.D.S’. Layers of rich, fuzzy synapses phase in and out of prominence over a bed of complex drum programming. The producer deploys negative space here to great effect, with the absence of a drum hit or sample where you might expect one adding to the hypnotic rhythmic swing of ‘S.E.E.D.S’.

Rounding out the originals of Quartz Silica EP, ‘SILEX’ is a club-ready construction with a paint-shaking bassline which seems to slip downwards in pitch as if it can’t get steady footing. Again, Design Default’s tone science/alchemy shines through clearly here, with stutters of melodies, bursts of white noise and stacked drum patterns managing to sit cohesively in this dynamic expanse.

Fellow Parisian De Grandi jumps on remix duties for ‘S.E.E.D.S’ to finish off the EP. The Paradoxe Club signee adds further syncopation and strips the original’s elements down to its fundamental core. The results are a spectral creeper of a tune - built almost intentionally with dark, low ceiling environments in mind.

PREORDER

Design Default - A.S.K (IM100)

@design-default - Quartz Silica EP
Format: Digital
Release: December 2nd, 2022
Artwork by Benfika

Marking the 100th record of the imprint’s prolific history, Infinite Machine are proud to present the release of Quartz Silica EP by new-comer Design Default. A self-described ‘tone scientist’, the Parisian delivers a 5-track of uniquely textural compositions which map out a sonic world influenced by dystopian anime titles like Trigun & Neon Genesis Evangelion. Like many on the IM discography, Quartz Silica acts almost like a simulation or audio-film representation of an abstract space you’re invited to traverse.

The EP opens with ‘Between Wasteland and Sky’; percussive assault on your senses which clearly exemplifies Design Default’s meticulous approach to sound design. Every detail, every sample and every automation is carefully considered to add to the heightened affective theatrics heard here.

‘A.S.K’ follows things up on this release, a highly inventive composition with a loose structure that evolves from phrase-to-phrase, refusing to sit still. Design Default’s interest in jazz and free-form arrangements is married up with an angular sonic palette of industrial groans and splutters; generating the impression of hearing a glitch (or hiccup, even) in the machine. There’s something refreshingly playful about the maximalistic breakdown of ‘A.S.K’ akin to the wry smile found in some of AYA and her YCO label’s output.

After two highly frenetic tracks, Design Default turns the tempo down slightly with the groove-laden ‘S.E.E.D.S’. Layers of rich, fuzzy synapses phase in and out of prominence over a bed of complex drum programming. The producer deploys negative space here to great effect, with the absence of a drum hit or sample where you might expect one adding to the hypnotic rhythmic swing of ‘S.E.E.D.S’.

Rounding out the originals of Quartz Silica EP, ‘SILEX’ is a club-ready construction with a paint-shaking bassline which seems to slip downwards in pitch as if it can’t get steady footing. Again, Design Default’s tone science/alchemy shines through clearly here, with stutters of melodies, bursts of white noise and stacked drum patterns managing to sit cohesively in this dynamic expanse.

Fellow Parisian De Grandi jumps on remix duties for ‘S.E.E.D.S’ to finish off the EP. The Paradoxe Club signee adds further syncopation and strips the original’s elements down to its fundamental core. The results are a spectral creeper of a tune - built almost intentionally with dark, low ceiling environments in mind.

Design Default - S.E.E.D.S (De Grandi Remix)

@elirrealveintiuno - Irrealidades
Format: Digital
Release: March 31st, 2023

Irrealidades is the new album from Mexican scene stalwart Bryan Dálvez, El Irreal Veintiuno on Infinite Machine. Although his reputation is well-established at home through EPs and tracks on NAAFI, Subreal and Infinite Machine itself, Irrealidades comes across as his boldest and most cohesive statement yet.

The album is a kaleidoscopic survey of Mexico’s rich sonic landscape, as well as an ambitious attempt to encompass the country’s historical becoming: from the rich, imagined sounds of pre-hispanic times to its current war-torn reality.

But an academic pursuit this isn’t and this is still very much music for the body. From the get-go, drums burn and rhythms gallop; sharp, aggressive synths insist and prod. Un respiro, the album’s mid-point gives us exactly that, a breather, albeit an emotionally charged one. Soon enough the second half of the record returns to polyrhythmic fury and ravey turbulence. We reach fever pitch on closer Minorías, envisioned by Bryan as a sonic representation of the eschaton: “the last track is merely the end of everything”.

Throughout the record disjointed voices loop endlessly before managing to articulate a single intelligible word. Maybe, Irrealidades seems to say, we are also caught in a loop, unable to break out from the cycle of violence and marching irredeemably (but with healthy curiosity) into The End, when Quetzalcóatl makes his glorious return.

Irrealidades

El irreal Veintiuno - Retiembla (IM101)

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)

Despina - 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

Fire from Heat

Despina - Lo Tech Hi Life (IM105)

bonebrokk - Secret Energy Knowledge (ft. Grove) (IM107)

Pre-order: https://infinitemachine.bandcamp.com/album/im105-despina-fire-from-heat

The title of @despinadespina's new EP on @infinite-machine, ‘Fire From Heat’, comes from the expression “heat from fire, fire from heat,” used by the trans community in voice training. At the same time that Despina searched for their voice as a trans, non-binary person, they found an alternate, musical voice through the extensive use of human and non-human voices.

The resulting album ties these conceptual threads - each voice is countered by rhythmic constraints, undulating cyclical grooves, sinister basslines, and interruptive structures that create a delicate interplay between the imagined speaker and an idealised dancer.

More exclusive music

Premiere: Despina 'Shoplifter'

Despina - Lo Tech Hi Life (WTCHCRFT Remix)

@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

Despina - Trickle Down Baby

Pre-order: https://infinitemachine.bandcamp.com/album/im107-bonebrokk-in-between-two-worlds 

@bonebrokk has crafted ‘In Between Two Worlds’ as a bridge into an imagined world that he can escape to, a respite from the banality of day jobs and our mundane everyday existence that club music can provide for us all - out on @infinite-machine.

'Mass Memory Automation' is an epic, amen-fuelled ballad that perfectly encapsulates the sound of 'In Between Worlds', completed with piercing vocals from @vassilina-m.

Premiere: bonebrokk 'Mass Memory Automation' ft. Vassilina

bonebrokk - Timelines Melt

bonebrokk - The Rift

bonebrokk - Altered Realities

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)

Diessa & Eyeza - Karandras

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)

Martyyna - Written In The Scars
Label: Infinite Machine
CAT#: IM113
Format: Digital
Release Date: June 7th, 2024

Official Video for 'This Time' https://youtu.be/F-WjTXXjOjo

Martyyna’s debut album Written In The Scars is an ironic play on the cliché that our destiny is written in the stars. More likely, our life’s stories are influenced by the scars we carry within us and by our coming to terms with them. Martyyna looks for such confidence on the single This Time, where a reverberating clock chime intertwines with her hazy vocals submerged in sampled water droplets, owl calls, or birdsong. Emerging at times only to repeat a hopeful wish: “This time... don’t make me cry.” A music video for the track, shot in the Canary Islands’ desolate and burned-out land, serves as an inspiration for the album's visual design and the future AV set with Igor Lorok presented at the Lunchmeat Festival in September 2023. The album cover views the body as a similar landscape, recording the imprints and bruises of past happenings and absorbing them into itself. The story of finding the strength to keep going continues on the second single, Distorted, inspired by data loss after Martyyna’s first live-set. Past feelings of anger and misery melt into a complex and stuttering production, her deepened vocals intertwine with jittering synth arrangements, slowly rising in pitch and gaining courage. Distant, muffled echoes are trying to break free, regressed traumas are coming to the surface, demanding attention.

After a process of healing, overcoming and getting lost in a dream, the voice of Martyyna fuses with that of the Czech producer Oliver Torr on Sunshine Girls and with the musician Portento’s on the closing track Invitation. The album ends with light, calming duets – two voices finding harmony at last, extending a euphoric invitation. An invitation to breathe in. To rest. To finally not be scared of one’s own self.

On Written In The Scars, Martyyna delves deeper into her work with vocals, first introduced on her EP AWAKEN, and perfects her layering of textures, tonal shifts, gradation of rhythms and deconstruction of string instruments. Rather than awaking, however, she’s now plunging into more atmospheric dreamscapes. Crafted with both chaos and care, Martyyna’s tracks are made of diverse building blocks reflecting her mood shifts and despairs as well as her meticulous craftswomanship gained working as an architect. Only here, forming physical structures in her waking life is interchanged with sonic worldbuilding of her dreams.

Written In The Scars

Martyyna - This Time (IM113)

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

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

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 Ft. Carlos Pabón - Muerto A Puntapiés

Entrañas - Chivo

Entrañas - Cascada

Entrañas - Cruces

Entrañas - Diclofenaco

Entrañas - Ajicito

Entrañas - Indignado

Official Video for Cryptid: https://www.youtube.com/watch?v=aWWNORoMufc

Following her recent explorations at the intersection of AI, club culture and visceral sound design, British electronic artist Aja returns with her new album ‘Cryptid’ via Infinite Machine due out on January 31st. A high-impact album steeped in themes of empowerment, resilience and mysticism. A vivid testament to the underground culture that shaped her, fusing blistering soundscapes, experimental lyrics, and club-ready energy to encapsulate Aja’s unique and confrontational artistry. Cryptide merges as a collection of sounds that are as unrestrained as they are intimate.

Cryptid is not just an album; it's a sonic archive of resilience, healing, and defiance—a club-ready collection that invites listeners to confront life’s complexities through Aja's unmistakable sound. With her unfiltered energy and uncompromising production, Aja's Cryptid marks her as a vanguard in electronic music, challenging her audience to not only listen but to feel with her.

Aja Ireland - Cryptid (IM116S)

Keru Not Ever - Mezzanine
Label: Infinite Machine
CAT#: IM115
Format: Digital
Release Date: December 20th
Mastered by Fausto Mercier

Words by Keru Not Ever.

Mezzanine is an album of post-classical music. The twelve pieces that make it up are attempts to take the raw materials of instrumental music, dip them in mud, and turn them into shimmering confetti. Flutes, violins, clarinets, voices, cellos, piano, bass—these elements are all there, woven together through a mixture of hyper-sampling and recording, creating a chamber music without walls, without windows, suspended in stagnant air and multicolored dust. The conductor lies in bed, sheets pulled up to his shoulders.

Modeled on human breath, the pieces highlight the phenomena of loops and feedback, as though each time a theme is voiced, it must be repeated, insisted upon, until something else — a counter-melody — emerges to disrupt it. This is clear from the very first piece, Requiem Caesura, which functions like the tuning of a small orchestra, seemingly deaf to itself. Then come, to name just a few, the shimmering wind arrangements of Ghisolabella, the pulsing glissandi of the solo bass in Mezzanine, and, finally, the epilogue, Harmonies de la brûlure, a tableau of slow-moving harmonic ashes.

This album took a long time to create, the time it took to free myself from Tereza and The Wind Of? — old, forgotten music. Whether that time was worth it, that is, the doubt in which every melody is born, I can’t say. What composes is always next to myself, an extimacy. But it's a leap in time, an interval of a few years, a leap based on certain musical ruins, anonymous shreds twisted in the throes of a pandemic, in the love and joys, the sudden lights striking the blind spots of a body. These are companion pieces produced from the detritus of history. They hold out a cold hand to those who lend an ear. 

Tracklist:
1. Requiem Caesura (Prologue)
2. Ghisolabella
3. Le poumon 
4. La chambre-haute
5. Infans 
6. L'oeil 
7. Passion
8. Coeur de peur
9. Mezzanine 
10. Le lac 
11. Malebolge 
12. Harmonies de la brûlure (Epilogue)

Keru Not Ever - Ghisolabella (IM115)

Keru Not Ever - Mezzanine
Label: Infinite Machine
CAT#: IM115
Format: Digital
Release Date: December 20th
Mastered by Fausto Mercier

Words by Keru Not Ever.

Mezzanine is an album of post-classical music. The twelve pieces that make it up are attempts to take the raw materials of instrumental music, dip them in mud, and turn them into shimmering confetti. Flutes, violins, clarinets, voices, cellos, piano, bass—these elements are all there, woven together through a mixture of hyper-sampling and recording, creating a chamber music without walls, without windows, suspended in stagnant air and multicolored dust. The conductor lies in bed, sheets pulled up to his shoulders.

Modeled on human breath, the pieces highlight the phenomena of loops and feedback, as though each time a theme is voiced, it must be repeated, insisted upon, until something else — a counter-melody — emerges to disrupt it. This is clear from the very first piece, Requiem Caesura, which functions like the tuning of a small orchestra, seemingly deaf to itself. Then come, to name just a few, the shimmering wind arrangements of Ghisolabella, the pulsing glissandi of the solo bass in Mezzanine, and, finally, the epilogue, Harmonies de la brûlure, a tableau of slow-moving harmonic ashes.

This album took a long time to create, the time it took to free myself from Tereza and The Wind Of? — old, forgotten music. Whether that time was worth it, that is, the doubt in which every melody is born, I can’t say. What composes is always next to myself, an extimacy. But it's a leap in time, an interval of a few years, a leap based on certain musical ruins, anonymous shreds twisted in the throes of a pandemic, in the love and joys, the sudden lights striking the blind spots of a body. These are companion pieces produced from the detritus of history. They hold out a cold hand to those who lend an ear.

Tracklist:
1. Requiem Caesura (Prologue)
2. Ghisolabella
3. Le poumon
4. La chambre-haute
5. Infans
6. L'oeil
7. Passion
8. Coeur de peur
9. Mezzanine
10. Le lac
11. Malebolge
12. Harmonies de la brûlure (Epilogue)



Keru Not Ever -  L'oeil (IM115)

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)

Artist: @yilanmusic
Catalogue Number: IM085
Album: Suddenly I Am Falling
Release Date: January 29th, 2021
Format: Digital

Emerging for his second release on Infinite Machine following his highly acclaimed 'Regression' EP with Amazondotcom and Superfície, Leeds - based producer Yilan returns for 'Suddenly I Am Falling'.

The title track opens with polyrhythmic kicks, electric hats and cataclysmic atmospheres that are set to send the dancefloor into a frenzy.

'Static Void' is an authentic Techno Dancehall masterclass with a sharp snare dancing around the syncopated pulse of the track.

Collaborating with Ren for third track, 'Niffler', sees the duo lurking into 90BPM territory for an unstoppable groove with razor-sharp percussive brutality and a masterclass in futuristic sound-design that expands across the entire audio spectrum.

Track four, 'Underwater Construction', is a halftime roller with ramped up distorted hits that emanate from an abandoned warehouse, like machinery exhaling.

'AFADS', featuring collaborator Ebb, launches things back into a rolling abyss like a ticking time bomb of kick drums that poke and play around paranoid lazer stabs and an astounding middle section that will leave you gulping in shock.

Closing the record out with an ambient work 'Lost Signals' portrays softer timbres of birdsong and synthesised windchimes, allowing time to reflect on what is one of the most inspiring talents to come out of the UK underground.

Tracklist:

1. Suddenly I Am Falling
2. Static Void
3. Niffler (with Ren)
4. Underwater Construction
5. AFADS (with Ebb)
6. Lost Signals

Mastered by Fausto Mercier
Artwork by Benfika

Suddenly I Am Falling

Yilan - Static Void (IM085)

Name your Price

Eden Aurelius - Broken Fangs(ft Millia Rage)

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