Eglo At Juno Download

Review: Mizz Beats - the pop/hip-hop/R&B/dubstep producer who first burst on to the scene around '05 - has a pretty impressive history behind her. Already, the 24 year old, East London raised gyal (otherwise known as Iman Yanee Tonge-Grant) has collaborated with the likes of Wiley, Skepta, Lady Sovreign, Dizzee Rascal and Roots Manuva. Mz B now steps up with a superb five track Are We The Dictators? EP on Floating Points and Alexander Nut's Eglo imprint. First up is funked up groove of "The Day Before Tomorrow" with its call to arms, loose, rolling drums and jazzed up, shimmying synths which provide a backdrop for the main tune which seems to slowly grow around these elements like a shoot sprouting from a seed. Classic 8bit bleepy melodic flourishes prevail in "Dirty Dishes", up next, which has a slightly Ikonika like feel to it as well, as does "Sancturary", in which Mizz Beats juxtaposes hefty drum kicks against simple repeated computer game tones. Evocatively entitled track "Sofa Beat" continues the journey onwards with fidgety melodies and computerized cheeps and chirrups punctuating the tune, before the EP closes with "2Bit Road". A superb finale, things finish as they started for "Are We The Dictators?" as Mizz Beats tunes into a low slung groove with resplendent crackling intro, soulful jazz keys and reggae vocal calling "selassie" chopped up amongst the rattle of maracas and clipped beats. A diverse and genre-spanning EP.

Review: Ever since it was debuted by Benji B on his Radio 1 show a couple of months back, there has been a general clamour for the release of "Danger", a rippling, techno-leaning Floating Points production that brings to mind his stunning (and slept on) remix of Sebastien Tellier. A peak time throbber this in not, with Mr Shepherd retaining his trademark jazzuality and penchant for deep pools of sub bass, with an epic introduction of soaring synths and rippling arpeggios. Up next you'll find the deeply atmospheric "Miniature 27", which sees Floating Points dipping his toes into beatless, ambient waters. A stunning and most essential release.

Review: Living up to his most recognised name with every release, LA producer Gifted & Blessed joins the Eglo family with a quite excellent EP under the lesser spotted Abstract Eye moniker. This name was last used by Reyes-Whittaker on the Cool Warm Divine EP for the Valentine Connexion imprint, a release that impressed the Juno review crew despite the fact the Abstract Eye identity was under wraps at the time. The rich analogue techno explorations dipped in glowering warmth and soul that ran through that release are present and correct on Whittaker's Eglo debut, especially the opening track "Analogous". Commencing with a neck snapping percussive flex, it doesn't take long for the track to get consumed by flourishes of rich analogue texture and undercurrents of fuzzed out bass. Alongside this "Grandfather Fire" floats in more pensive strains of machine made funk, gradually unfurling into intricately layered bursts of kaleidoscopic colour that retain a certain restraint throughout. Whittaker reserves the best till last however, with "I Feel It In My Forehead" making for a gloriously paced sojourn through sumptuous electronic soul.

Review: The latest two-track jam from Floating Points for his own Eglo imprint further cements his reputation as a naturally gifted producer steeped in an understanding of soul and groove. "Marilyn" is bursting with good-times vibes from the deceptively smooth intro to the bumping boogie of the drop. It's the sheer musicianship that stands head and shoulders above his contemporaries. "Farukx" lilts to life on a bed of wistful strings, and when the beat does come into play, it's a steppy stumble of gossamer hats and snares that manage to trip over each other in disjointed harmony.

Review: With only a few but already classic EPs such as the astounding "Love Me Like This" and "Vacuum" under his belt, Floating Points seems to have an uncanny knack of effortlessly fusing house, nu jazz and R&B to create something wondrous, and "People's Potential" continues his winning streak. The title track kicks off proceedings with a wandering electric piano, jazzy guitar licks and rim shots which takes you on a Moog-driven journey. Things take a darker turn on the B-side with "Shark Chase" pairing a fat, prowling bassline with spooked-out piano to claustrophobic and menacing effect. You're going to need a bigger boat...

Review: Funkineven and Fatima are no studio strangers, each sharing credits on the others previous Eglo releases but this is without doubt their best work together to date. Eglo could have just dropped "Phoneline" as a one track release and we'd be singing it's praises to anyone that can hear, so kudos to all involved for complementing the track with further examples of Funkineven and Fatima's obvious studio chemistry. "90s" echoes the satin dipped R&B antics of TLC at their most sultry, whilst it's complemented by that killer swinging boom bap arrangement from Funks, while "East To West" crosses LA boogie vibes with some off the scale rhythmic subtleties that would do Maurice Fulton proud, with Fatima showing the breadth of their vocal range over the elastic groove. This 12" is dominated by the brilliance of "Phoneline" however, with Fatima and Funkineven indulging in flirtatious chatter over demented yet slick as f*ck MPC manipulation. It's one of those tracks that tops the charts for months to come in the bizarro world we'd rather live in - I guess we'll have to make do with jamming this in every dancehall possible.

Review: The title track on FunkinEven's latest Eglo jam takes no time at all in declaring its intentions in decimating the dance. A stomping beat and nasty acid line get scuppered by edits that display a desire to screw people's heads up just when they were getting into the groove. "Take Back" ploughs a similar furrow, but with a many-limbed b-boy swerve where "Roland's Jam" was all rigid 4/4 stomp. "XXX" gets even more explicitly acidic as the 303 comes through in full effect. Those with a soft-spot for rough stuff will lap this up and come back begging for more!

Review: Those who missed out on this Floating Points obscurity on its initial vinyl release must be pretty happy right now. You see, Eglo originally released it a couple of months back as an ultra-limited, single-sided 10" single. For those who don't buy vinyl, it's actually something of a bonus to see "Sais" get a digital release, as it's a pretty hot slab of contemporary broken beat. With a weighty dub bassline, mournful strings and snappy, jazz-influenced beats that weigh in somewhere between classic bruk and 2-step garage, it's easily one of Floating Points' heaviest releases to date.

Review: One the finest exponents of the Eglo principles of music, Mizz Beats captures that tricky space between cutting edge groove and pure, heartfelt soul. You won't find a better example of this in action than on the slovenly boogie that is "Scientific Brainpriest", all sensuous bass and cooing synths, while the pads wrap themselves around your ears like finest satin. It's a corny analogy but it really does feel that good. "Pimpin'" meanwhile updates the middle ground between house and broken beat with a dreamy blue note affair that gets lifted by the bongo-heavy beat and truly feel good strings.

Review: Big props due to the Eglo network for this release, an impeccable EP of Floating Points productions which cannot fail to impress on any level. Musically, it's perhaps Shepherd's most ambitious collection to date, veering through sumptuous deep house, expertly crafted broken boogie from another century and bristling techno. "Myrtle Avenue" is a dreamlike way to open a release, plunging into vast, widescreen expanses of texture and detail, further cementing comparisons with Theo as the freeform keys align with undulating layers of percussion. "Realise" and "Obfuse" are the precursors to the standout tracks on the second twelve, but are in no way filler, with the former teasing out finely placed 808 programming over pensive simmering patterns, whilst the latter is a fizzing, stripped down drum machine workout that is gradually joined by yet more tenderised synths. And thus we come to "Arp3", a track which will secure this release a place in many a heart, expertly growing into a haunting techno epic and filled with so many production intricacies and rhythmic deviations it demands several repeat plays. "Sais" rounds off the release, revealing in full detail the track's fuzzy, orchestral glory some time after a Dub version appeared on record store day.

Review: Eglo's resident boogie botherers step up for another EP of honey-coated synthesiser jams. What's noticeable is the leaning towards a more crisp, electro style, most apparent on "U" and "Groove". The beats fall in a gentle breakbeat, clean and low in the mix, so that the dense swathes of melody can take centre stage. However, the end result comes off a little too slick when compared with some of the earlier Arp 101 material. "True" addresses things somewhat, taking that skewed funk groove that distinguishes the man from so many producers mining the boogie sound, allowing the staggered groove to accentuate the chunky Moog bass.