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As a producer, BAMBII’s flaming-hot club cocktails are deeply entwined with her long-standing party JERK: a queer Black global dance music love-in tied to the Jamaican-Canadian artist’s Caribbean roots. In a buzzing city that’s home to Caribana, North America’s largest Caribbean carnival, and where immigrants make up nearly half of the population, JERK has planted a welcome flag in the landscape of Toronto nightlife, championing sounds from the Caribbean diaspora since 2013. It’s a space where jungle, techno, reggaeton, dancehall, and more converge—sprinkled with a little pop sugar, and washed down with the jerk chicken BAMBII famously makes herself for party-goers.

“To me, everything in Toronto is informed by Caribbean people coming here in the ‘80s—music, slang, every single thing that’s created an imprint here. Everything that makes Toronto feel like a place that’s specific and not miscellaneous is because of the influx of Caribbean people. That’s undebatable to me,” BAMBII (aka Kirsten Azan) told The Fader in 2023. Having launched her production career four years earlier with the blazing hi-tech dancehall of “NITEVISION,” featuring Jamaican majesty Pamuttae, BAMBII has kept the spirit of JERK alive across subsequent releases, championing cross-cultural hedonism on her 2023 EP INFINITY CLUB, for which she picked up the 2024 JUNO Award for Electronic Album of the Year. Also in 2023, she either notched sole production credit or contributed additional production to 10 of the 15 tracks on Kelela’s Raven.

All in all, you could say BAMBII’s on a roll and, lucky for us, she’s directed some of that winning energy into her latest album. INFINITY CLUB II was written following a 2023 trip to Jamaica and reflects the genre-hopping mixology of her musical tastes; one minute it’s burrowing hard into hyperpop-meets-dancehall (“Thunder”) or jungle and ragga (“BAD BOY”), the next it’s raising a Cardi-rita to the pop-coded ‘anthem moments’ she’s previously gushed over.

Opening track “Remember” draws attention to this duality, gesturing towards seductive alt-R&B before barreling ahead with rock-solid breaks and a deluge of bars from bashment-informed UK rapper Scrufizzer. Similarly, “Blue Sky” is a song of several parts: leaping from pop-rap to deconstructed club and depth-charge bass in one fell swoop. Here, airhorns and crowd chants highlight the communal punch of a collaboratively minded album, while on the sparkly jungle-dusted “Mirror,” BAMBII coaxes sweet, breathy melodies from Jessy Lanza and smoked-out Korean rap from Yaejii. That’s not forgetting BAMBII’s own vocal contributions, which are more prominent on INFINITY CLUB II, and infuse the album with a genuine sense of who she is.

Overall, BAMBII is taking the rave to the charts—and vice versa—but  is pulling it off with flair and eccentricity. “I really respect people who decide for themselves what they like in a world that’s deciding for you,” she says. The statement echoes the M.O. of INFINITY CLUB II: an energetic synthesis of global electronic sound that draws all of its strength from the individual behind it.