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Infinite Machine
Browse the latest digital releases on Infinite Machine
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.
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IM 069
27 Jul 18
Bass
27 Jul 18
Bass
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.
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IM 068
08 Jun 18
Bass
08 Jun 18
Bass
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IM 058
01 Sep 17
Bass
01 Sep 17
Bass
Played by: Cos BV (Car Crash Set)
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!
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IM 048
28 Oct 16
Bass
28 Oct 16
Bass
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.
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IM 046
26 Aug 16
Bass
26 Aug 16
Bass
Review: Ziur is a new name to the bass scene, but she's by no means a newcomer in style and approach. Moreover, the she's been scouted by the experienced Infinite Machine label, so it's clear from the offset that this is pretty solid gear. But, apart from ticking all the boxes production-wise, the music across Taiga is violent, resolutely different and painfully cool. From "Fever", through to "Nails" and "Taiga" itself, Ziur sets up her own sound and his own rules with a newfangled bass sound that recalls more exuberant material on labels like Night Slugs. Remixes come from Born In Flamez and Air Max 97. Killahs!
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IM 044
01 Jul 16
Bass
01 Jul 16
Bass
Played by: Wolf
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.
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IM 043
27 May 16
Bass
27 May 16
Bass
Played by: Wolf
Review: Montreal/Mexico City joint venture Infinite Machine have sure been launching some bass heavy bombs at us of late but we're not exactly sure which direction this one's coming from to be honest. The mysterious WWWings trio are said to be comprised of Lit Internet, Lit Daw and Lit Eyne and after wreaking havoc on Soundcloud for a while now see their debut release. The futurist grime mutations of "Glacial" start things off in explosive fashion. "Gravity" (featuring Endgame) slowly builds suspense with a series of explosions and motorway sounds until restrained, slow motion pulsations of bass hit you like a roundhouse kick to the face. Final track "Cypher" is great too, probably the only one on here that follows the formula or of previous genre classification but still owning its sound.
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IM 041
25 Mar 16
Experimental/Electronic
25 Mar 16
Experimental/Electronic
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.
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IM 038
12 Feb 16
Bass
12 Feb 16
Bass
Played by: Wolf
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.
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IM 036
30 Oct 15
Bass
30 Oct 15
Bass
Review: Locked into the wave of exciting new grime abstractions surfacing at present, Lokane comes to light with this four-tracker for Infinite Machine and sounds about ready to rip up the dance with a fearless intent. "Shake The Gears" comes laden with some unnamed MC baiting tricks which proceed to get run through the grinder around some flashy sound design beat mashing, made with a keen ear for detail and a serious experimental edge. "Million" is no slouch on the fireworks either, although it sharpens the focus around a mean bassline for maximum dancefloor impact. The wild choppiness is back on "Eastway Project" to devastating effect, with "The 5th" keeps the pressure up high to round out an EP that should come with a warning.
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IM 034
28 Aug 15
Bass
28 Aug 15
Bass
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.
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IM 031
11 May 15
Bass
11 May 15
Bass
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.
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IM 022
03 Feb 14
Bass
03 Feb 14
Bass
