ArtistInfo

Mechanique

*1998
Dance
A.k.a. Jaime Paiva

Mechanique was born in 1998 from the heart and mind of a Portuguese designer, Jaime Paiva. At first, Mechanique started as an experimental/industrial music project, genres those, which influence very much his sound still today. On that period (promo CD “The Theory of Pain”) he was at the beginning of his musical career, influenced by the electro-industrial/tech-noise scene of London, place where he settled for some time. Dark and distorted sound and drums marked the new born Lisbon electro-industrial scene by the underground “hit” Red as Blood” which remained for some years only available in CDR due to the fact that it never got edited; nonetheless, it was frequently spinned by radios in Portugal, UK, Netherlands. Spain and Denmark. As the dance music got more popular in Portugal, Mechanique too oriented his musical directions towards new horizons, using groovier 4/4 rhythms but always conjugating his influences, sometimes resulting into real hybrids between House and Industrial, and sometimes producing more “deep” tracks. Towards the end of 2001, after being one of the winners of the “Future Club 2” Competition promoted by the Dance Club mag, with the “Ecstasense” track, a promo got to the Kaos Records and Mechanique was contacted and proposed to produce a maxi album with 3 tracks - “Hookers on Dope” (K63) - only released on May, 2003 - which was hosted in such charts as of the Low End Specialists, Funky Junction and played by Dj Vibe, Danny Tenaglia e Danny “Buddha” Morales among many others. In 2002, he was also invited to remix “C’est La Vie” (K62) by the Gordon Kaye and Steve Butler’s Panis Box project, also released by Kaos Records. Later on, already in 2003, on request by Universal, he remixed the pop/rock track “Black & White” by the Wonderland, included in their original tracks CD “Glad Again”. For he does not practice Djing, since last year Mechanique decided to perform live in live-acts, leaving the studio and bringing his music to the people, filling that live performing gap existing on his way. In this way, and thanks to the use of a computer and machines, he creates new live productions, mixes up and remixes his own themes, making every live-act original in its particular way and offering to the public his peculiar progressive-tech sound in performances always organic and hypnotic.