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: Canada's Infinite Machine Imprint is back with their interesting take on a UK sound, this time by grime artist Aphix. "ED200" sounds like Talvin Singh on steroids; its tabla jam playing over some serious low end stomp and futuristic atmosphere. "Ruby Grooves" is a deep stepper with its minimal arrangement letting the breaks and the sub bass show off a bit. There's also "Into Spheres" which get more experimental with its freeform beat and sci-fi sound design while "Trick or Truth" is more traditional dubstep. Stoned out darkside bass therapy.
Review: Bristol space-bass merchant Aphix returns to Infinite Machine with three more deliciously far-out hinterland gems. "50/Thrifty" is all rippling, rusty minor chords, echoing out the image of what could easily be an empty or poorly attended funeral. "Wester To Gold", meanwhile, takes us deeper into technoid territory with slo-mo Modeselektor textures and dissonant bass plucks. Finally we hit "Chemtrails", a stark and lonely wobbler with loose drum punctuation and minor key almost Detroitian synth sounds. Icy but not isolating.
Review: Infinite Machine is a label committed to documenting modern exponents of intricate, melodic techno shot through with an edge of electronica, and so it is they snap up emergent talent Beaka after he surfaced on a remix of Circula last year. This EP is an immersive beast, from the ambient undertones and detailed rhythmic shuffle of "Timelapse" to the playfully strung out garage of "Subconscious" with its canny use of space and reverb to create drama and tension. "Killjoy" equally pares down bass tropes to a distinct end point loaded with crafty sound design and a breakstep kink, while sounding positively distinctive at the same time. "In Disguise" rounds things off nicely with a nasty 4/4 stomper that amps up the sonic matter and shows that Beaka isn't just about artful restraint.
Review: Although Born In Flamez has been present in terms of live recordings and DJ mixes over the last five years, he has put out a surprisingly small amount of official releases. His last effort for the Infinite Machine imprint, a digital-only EP that managed to blend the best of both IDM and ambient, has earned him a comeback, and it's clear that the producer's sound has evolved once again. In what feels more like a mini album, Born In Flamez successfully pulls off a heist involving power electronics and r&b, powered by a noticeable bass 'couture'. Not one of these 7 tracks remain stationary, with each one morphing and shape-shifting up and down the hardcore continuum. If you're a post-modernist in need of a good old mash-up of dance sounds, then you will certainly find it in Impossible Love. A truly hybrid art piece.
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: USA bass scientist, Distal, came to our attention with an album for Pinch's Tectonic back in 2012, and it's safe to say that neither he or us have ever looked back since. The producer has become an important player in the contemporary, post-dubstep scene, and that's because he never sticks to the same formula when concocting electronic beats; the variety of styles and influences that emanate from his tunes are constantly impressive. This new EP for Infinite Machine is a great example of his diversity as an artist: "Reebok Blood" is pretty much beatless and, instead of using loud drums as his tool, Distal manages to create form and rhythm out of broken, distorted sonics; "Hostage Track", on the other hand, is a pure hybrid track, mashing up elements of jungle, grime, and even a little bit of Chicago house in its samples. Big up!
Review: Effy is a stage name for Kieran Craddock and Peter Fleming, two Irish producers operating in the grey area where bass, techno and garage all collide. "Move" revolves around a swinging groove and forceful bass as sweaty vocals weave in and out of the arrangement. "Bourbon Switch" meanwhile starts off as a jacking groove that gradually veers into a stepping rhythm laden down with unintelligible vocals. The remixes are also of a high standard; Troy Gunner gives "Move" a swung feeling, while the Hound Scales' take on "Bourbon Switch" is based on garage drums, but swathed in found sounds and white noise.
Review: Infinite Machine is simply the right label for Australian producer, Galtier. The talented - and unpredictable - bass experimenter likes to dabble in the more shadowy corners of the genre, and this new EP is testament to his far-reaching skills behind the mixing desk. As such, "Last Remnants" opens on a desolate landscape of grey-scaled sonics before transforming into something much meaner and more beat-centric on "Keepsake". The broken beat arrangements continue with the dystopian sounds of "Koll", and the banging drums of "Barren Sphere", before entering a world of unknown atmospherics via "Emerald Salts" and "Journeyman". Wicked style.
Review: Australian producer Galtier isn't too concerned with genres or trends by the sound of his releases. Pastime we heard from him he was delivering techno on Car Crash Set, and this time we hear him making wide-eyed bass experiments on the Infinite Machine imprint. "Chain" is an FX-heavy drum stepper with a murky outlook, "Gold Bones" is a wonky grime hybrid, and "Charm Complex" flutters its flute sounds over a dark and noxious layer of sub bass. There's a techno remix of "Chain" by Lydes, and a Luke West rework of "Gold Bones" that takes the original mix to more tribal territories. Heavy.
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: 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: Infinite Machine is Montreal's answer to Night Slugs or Dirtybird, where bass, house and techno meet, and for the label's twenty-first chapter, IO Sounds touches base once again on the imprint, along with Lakosa. Together they deliver a sweltering, sub-heavy interpretation of house, where "Livewire" amalgamates aspects of electro, tech-house and soundscapes reminiscent of ambient's sultry visions. "Got That Swag" is another house-bass hybrid, where the duo add sexy vocals to the beat's forceful swing. Infinite Machine delivering the goods once again...
Review: Ides' last EP came over a year on Get Me! and the time passed got us wondering what the producer was getting up to. Well, now we know, and we also know that the time spent waiting was well worth it, because Iydes' latest EP for Infinite Machine is exactly the sort of thing we're into when we're on a bass tip, these days. "Leaving Thrice" is a raucous, scatter-shot groove that burst into life, and sounds almost 3D in texture and sound design. "Skin" is slow, sparse, and takes the term 4/4 to new and amazing territories - our favourite on here, for sure - while "AWWorship" sits somewhere between juke, dubstep and grime; check out the remix of the latter by Endgame, a sort of twisted lay on house. Sick.
Ode To The Past, Present And Future - (3:58) 150 BPM
Blue Strobe Pastiche - (4:17) 158 BPM
Closers - (5:11)
Fusing Zeitgeist - (4:59) 151 BPM
Airflow! Velocity - (4:15) 150 BPM
Scanners - (5:33) 59 BPM
19 Stab Wounds - (7:20) 60 BPM
Dogville - (3:40) 160 BPM
Bleached Canons For Peace - (5:22) 135 BPM
Pink Chrome And The Smile Of Karenine - (4:02) 152 BPM
Review: It would be fair to say that Infinite Machine has brought nothing but vibes since its first releases began to appear on the cusp of the post-dubstep wave. By that, we mean that they have never failed to provide us with quality new talent from the enlarged bass world, all of it trying to do something to create new purpose and direction for the so-called 'hardcore continuum'. Keru Not Ever is a new, exciting producer who we know little of, but who provides a thorough introspective of his musical mind with this album, Tereza. As you'd expect, this isn't a piece of music with either a concrete rhythm running through it, or one particular sound at its core. Instead, Keru Not Ever builds a world of glitchy, electrifying sonics that clash and fuse beautifully with one another. It's a rich, textural pastiche of noisy ambient music that is right up our alley.
Review: The young Korma, a low frequency dweller who has impressed with his industrial brand of quasi-dubstep, gets called up to the Infinite Machine roster for a seven-tracker spanning the full bass circle. It's all half-steps and head-nodding but consisting of different strains and varieties: there's the melodic charm of "Pariah", darker and more penetrating beats on "Orloj", the broken monster that is the aptly named "Dismantle", and of course, the jittery sci-fi number "ZGMF X19A". Watch the Tomas Urquieta remix of "Oloj", an even wilder and nastier version of the original.
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...