Infinite Machine At Juno Download

Review: When 123MRK's Noname EP dropped in 2011 creating waves all around the dubstep and bass music scene. Moulding the sound of his generation into a style all his own, the Frenchman suddenly found himself held aloft as an innovator as well as simply a producer of sounds. This remixed release of his seminal EP was a lofty undertaking and the finished item features remixes from some of the future dubstep scene's brightest young stars alongside long-time innovators. From Liar's metalic, lo-fi flavours to Troy Gunner's understated clicks and swirls; ViLLAGE's heart-pounding house remodelling to Heblank's old-school twist, even the likes of Pixelord and ReSketch play their garage-influenced hands to create an all-new modern-day canvas of what exactly bass music is right at this moment. It can never be truly defined, but this is a pretty good encyclopedia.

Review: The day-glo synths come ripping out of Bwana's studio like there's no tomorrow on "It Ain't Done Til It's Over", pausing only for some powerful woodblock hits to echo at the end of each bar. Otherwise the details and delirium gets piled on in hefty measure on each track from the fresh-faced producer, keeping things melodic and meaningful in every shifting segment. XI turns out an interesting remix that slows the 2-step shuffle right down and bolsters it with haunting and contrasting synth parts. Jack Dixon opts for a more linear house take that still manages to straddle the contemporary hybrid juncture of electronic music.

Review: The work of San Francisco producer Nico Jacobsen, the Hound Scales project has been described as 'junta rave'. Whether or not Jacobsen uses this music as a soundtrack to oppress those who disagree with him is unknown, but it is clear that "Suction Clip" packs a punch. The rhythm is slamming and dirty, the beats heavy and cracked and the crackling percussion leads unexpectedly into a hushed breakdown. "Dorian Hope"
is built from a similar basis; the rhythm is slamming and noisy, the beats double up, ratcheting up the intensity levels and the central riff sounds like someone is scraping an industrial hammer against a concrete floor.

Review: Steeped in the tropes of the Burial fallout, Nocow sports his influences with pride as he delivers the second release for Infinite Machine. Steady breakstep beats with an earthy quality drown serenely in a dense vat of pad on EP opener "The Man Behind The Suit", while forlorn RnB vocal licks loop around harmoniously throughout. The trick is repeated in a similar fashion on "I Just Want You (To Know)", albeit with slightly less morose end results, while "Like Apart" and "I Told You" change tact with a driving 4/4 undercurrent upon which the pensive sonic decoration travels.

Review: Infinite Machine snap up the talents of two steadily emerging artists immersed in the tos and fros of contemporary bass music, resulting in the Moosebumps record and celebrating all things hybrid and indefinable. Russia's Pixelord looms large on the release with his canny use of RnB vocals in unusual contexts, not to mention his wielding of texture and sound design to create an interesting depth of field in his downtempo constructions. Zack Christ is more overtly avant-garde in his approach, not least on the gloriously crumbly "Tungo" which seems hell bent on squashing any whisper of groove into an experimental mess. Bringing fresh approaches to a sound that is widely represented at present, Pixelord and Zack Christ have proven their worth more than most with this EP.

Review: Resketch, aka Liverpool's own Steve Burnett, is on a bass-led roll right now and this collaboration with Infinite Machine seems very likely to up the heat even further. "Numf" is all Tropically tinged staccato drum breaks, pitch-bent rave pads and sped up vocal snippets. "It Could Be" is a very different beast, being a fluffy and melodic retro house affair complete with hazy diva wails and tweaked piano notes. "Reason For A Reason" is seductive futuristic R&B that gets a moody slow-clap makeover courtesy of Framework. Lead track "Numf" returns to end things on a high, with Liar's Herescu 14 mix opting for an upbeat, everything-and-the-kitchen-sink, electro-funk route.

Review: Canadian label Infinite Machine have been nurturing homegrown bass talent, but now they turn their attentions to the UK for the debut release for Rommek. Like producers Jack Dixon, George Fitzgerald and James Fox, Rommek's brand of house is one that flirts with garage and UKF rhythms. The title track takes a huge vocal sample and imbues its snappy percussion with a warm glow; "Maisie" meanwhile takes a delicate 2-step rhythm and glittering melodies, and firms them up with some deep subs, while "Turquoise" is another masterful slice of swung deep house, given some verve with its keen rave stabs and rippling arpeggio.

Review: After coming to the surface last year with his appearance on Mindset, Troy Gunner heads into dub techno territory to further develop his melodic, atmospheric sound. This two track release for Infinite Machine features ample sonics for those times you need a little more reflection in your 4/4, not least on the immersive chords of "Masks". The snappy vocal licks bring a different texture to bear on a familiar template of melancholic momentum, but it's "The Valley" that switches the mood up with a low slung and skippy micro-house groove that slots in very smoothly indeed around the ponderous chords.

Review: Montreal-based, Xavier Leon is what you'd call a true bass explorer and this latest EP for the young Infinite Machine is just the right place for his beat escapades to take place. "Entrenched" is a mighty fine riddim indeed, and its sharp percussion work fuses oh so well with those inebriated garage vocals travelling beneath it. "Croak", on the other hand, is about as chopped up as you can go without losing the groove, but that's what makes it so fantastic. To finish we have two remixes of "Entrenched": one of them by Liar, who goes all Warp circa 93 on us, and the second by Framework, creating a rather ominous but altogether addictive interpretation of the original. Recommended for all you bass fiends...