Listen to the show from August 25th here.

Following all the Lusophonic excellence, the London based scientist switches the vibe finishing with a few Eglo tracks. Listen in at 1hr 41min for a new Floating Points production with a monstrous bassline.

Oh, and Eglo have a new digital home: http://eglorecords.com

Not only will Tony teach you how to make music using Logic Pro, but there’s also complimentary food, competitions, and Eglo’s Funkineven will be spinning at the end of the night.

Here’s the 411:

All round music don Throwing Snow is playing alongside a pretty heavy lineup over at Notting Hill Arts Club this Friday. Their monthly bass night, Talking At Me – consistently held down with style by Rita Maia and Coby1 – has put together their finest lineup to date  and will be headlined by Ben Westbeech (aka Breach) withFunkinevin also in capacity. Check out the press release below for more details, or the flyer above for the short version.

via Talking At Me

Producer and vocalist Ben Westbeech is refreshingly hard to pin down. His acclaimed debut album in 2007 mixed soul, jazz, drum ‘n’ bass, and breakbeats. He made one of the finest cutting-edge club tracks of last year – ‘Fatherless’, released under his Breach alias – and he’s currently busy putting the finishing touches to a new LP for the legendary house label Strictly Rhythm. His new single, ‘Fallin’ is out now and the album, ‘There’s More To Life Than This’, is set for release in April featuring an all-star cast of collaborators including Henrik Schwarz, Soul Clap, MJ Cole, Cosmin TRG and Motor City Drum Ensemble… As if that wasn’t enough, he’s also a seriously good DJ!

Funkineven has been blowing up over the past year. A real connoisseur of club music he always digs that bit deeper with a sound that references acid house, Detroit techno, ’90s garage and beyond, fusing it all with his own unique style. Currently signed to Alex Nut and Floating Point’s Eglo label his latest twelve, ‘Heartpound’, made it into Bleep’s top 100 of 2010 and his DJ services are heavily in demand.

Throwing Snow has been receiving great reviews for his releases on labels such as Alex Nut’s Ho Tep. His productions may be considered difficult to label – a sort of broken dubstep with more psyched-out textures and heavy bass lines – but 2010 was a particularly good year with the release of the widely-acclaimed Gold Panda’s remix of ‘Snow and Taxis’ and his most recent single, ‘Align’ on Super Recordings. Listen out for his most recent project, Snow Ghost, on the Black Acre label.

Housed the correct side of the river at Dex in Brixton, the two-tier terrace serves as the main space, they’ll also be a bar downstairs. For the last blast of the Boglewaltz summer the line-up brings together numerous agitators from London’s underground, including Kay Suzuki, Mr Beatnick, Cal Jader, and Hugo Mendez.

Two of Boglewaltz’s creators Guynamite and Analog Jones collaborate as Twin Cities, the third instigator, D.Ablo is a skilled vocalist. To gain a flavour of the affair, here’s a free download (thanks to Nu-Soul Magazine) from the three gents.

Twin Cities ft. D.Ablo – Don’t U Want Me Back (right click, save as…)

As a bonus here’s a couple of photos from the last session:

www.boglewaltz.com

www.dex-london.com

Benji B warmed up room one with songs to please the soul crowd in attendance, including Stevie’s ‘Too High‘, Yam Who’s long percussive edit of ‘Skyy, Can You Feel Me?‘, and Nas’ ‘Get Down‘. Eager to get a spot for the first of two live sets people edged towards the stage, before long Fatima and band began.

‘Higher’ opened the show, although it was in the second track (‘Lil’ Girl‘) when things really got going. Taking a backing role on keys, Floating Points’ solo in Shafiq Husayn’s composition demonstrated his terrific piano playing, skills often overlooked when he’s leading the show. Adding the final ingredient to a well-balanced line-up (others members being on drums, bass, guitar, and three backing vocalists) FunkinEven ghosted on to man his MPC and red microKORG XL, chatting into the vocoder to signal the start of ‘Kleer’.

Midway through, ‘Mind’ commenced. The most complete song to come so far from the Floating Points Ensemble, it’s one where Fatima seems to always excel, “What’s the use of running? When noone’s waiting at the finish line…”. Without the live strings of previous shows, super-crisp rimshots helped the fine rendition have necessary clout.

Charming as ever and witty in her on-stage talk, Fatima introduced ‘Warm Eyes’, a driving-with-the-top-down groove produced by Dam-Funk. ‘Soul Glo’ followed, complete with a brief cameo from Alex Nut that fell a bit flat but amusingly attempted to recapture the vibe in the video. ‘On the Go’ closed the show, though sadly the vocal harmonies were muddy in the mix. For Fabric to compete as a live venue these technicals need tightening. Minor hiccups didn’t distract from the overall quality of the performance; it’s a treat to see a  performer as talented and humble as Queen Fatima in such an ambitious set up. Another extraordinary Eglo production.

As Ronnie Herel DJed the crowd packed in even further, squeezing in tight during Jill Scott’s ‘Gimme‘. Shortly after midnight the main event arrived, Bilal with a 4-piece band.

Dressed in suit jacket and shades, it wasn’t long before ‘Something To Hold On To’ had spines tingling. The lead-in song from the album that never was (Love For Sale), it was one of many older tracks to send the crowd loopy. Cuts from 1st Born Second pleased Dilla heads, notably ‘Reminisce’. A breath-taking rendition of ‘Love Won’t Let It’ offered evidence on why Bilal’s vocals are so revered.

Weaving in material from the forthcoming Plug Research album, Airtight’s Revenge. The 88-keys produced ballad, ‘Think It Over‘ cooled the mood before ‘Restart’ showed how his new material has a rock-element, bridging soul with prominent electric guitar and crashing drums. Tight from their time touring the band backed Bilal brilliantly.

‘Sometimes’ was a joy to hear live, a 21st Century soul classic. Equally emotive, the new take on ‘All Matter’ contrasts to the Robert Glasper version but the familiar vocal means it still packs as much of a punch. Especially when audiences cry back “What is it?” to Bilal’s call of “What is love?”.  The delicacy of his voice never ceases to astound, as heard in the falsetto passages of ‘White Turns To Grey‘. Every bit as hair-raising as the recording, ‘All for Love’ showed his ability to ease through octaves.

Clocking in at almost two hours, Bilal fans could not ask for more. A wine-swigging encore finished with a female eruption when the man from Philly asked where his “Soul Sistas” were. Leaving the stage professing his love for London Bilal can rest assured that the feeling is reciprocated.

Fatima’s second outing with her band is at 8pm Saturday 17th July for Flomotion Live at London’s Royal Opera House.

Bilal’s European dates continue with shows in Oslo tonight, Saturday at the Dour Festival, and finally in Rotterdam Sunday.

Thanks to Ashes57 for the photos.

Channels air all sorts, from R&B singer Ashanti giving fans a Q&A and preview of a new track whilst removing her nail varnish, Nicki Minaj’s madness, and a peek at Snoop D-O-double G getting his hair done.

As watchable as individuals like Snoop are, mundane scenarios only serve as entertainment for so long, and there are better sites to illicitly stream live sports. Ustream’s cachet is the ever-growing band of acclaimed (within the underground) DJs and producers logging in to broadcast direct at whoever is tuned-in online.

With complete creative control and little technical fuss, it’s understandable why the trend has caught on since it surfaced popularly last year. A 21st Century broadband-enabled evolution of bedroom DJing, once solitary actions become public with viewers invited into the streamers homes. Shout-outs and lo-fi productions add pirate station-esque charms.

Whether a soon to pass fad or the beginnings of a new movement, the (u)streams keep on coming.

From an admittedly London-centric perspective here’s a selection of recommended shows:

> Oneman, regarded as kick-starting the UK trend with his Yard Sessions.

> Night Slugs from Bok Bok.

> SpaceBass Yardcasts.

> Monday nights at 9 when Lukid goes ocean deep, a favourite example of his eclecticism switching from Chopin’s  ‘Raindrop’ to Arthur Russell.

> Deadboy Soundboy.

> Sunday afternoons with Mr Beatnick.

> Glasgow’s Jackmaster (whose Drexciya special takes your mind to another level).

> And Worldwide Award-winners, Floating Points and Fatima, rolling out their Eglo music. Check their Twitters for announcements (that’s Kyle Hall in the background…).

You streaming?

Photos by Marlon Ruddock (except the first one, please tell us if you know who the mystery snapper is).

For more check the Boglewaltz Facebook page.

Splicing genes by day, beats by nights, Floating Points is a scientist of sound, molecularly breaking it down.

Riding a meteoric wave through the underground scene, his hit song ‘Love Me Like This’ has accumulated tens of thousands of hits via various online portals. The response at London hotspots Deviation and Nonsense was unlike any other: crowds went wild, reloads were demanded, crowds went wild again. Initially available as a free download, it later got reworked with live parts and made available on vinyl via R2 Records, as it continues to supercharge dancefloors.

Juggling his musical making with a PhD in Molecular Genetics —specifically an interest in the neuroscience of pain at a molecular level — Sam has developed a distinct, signature sound using component parts in ways that go beyond the instruction manual: he has previously captured sounds as seemingly drab as a toilet seat or kitchen door and reconfigured them into a bass or snare drum! Another factor in his distinctive sound is the way Floating Points songs tend to move around a central tone or tonic. “Certain aspects of harmony at the moment really get to me.” he expains “Especially a lot of altered stuff, a lot of Modal stuff. And the French Impressionists, Debussy, Ravel, Fauré, Duruflé, Les Six, but most  importantly Messiaen. Messiaen is every day, the most important to me.”

French choral traditions aren’t a typical muse for electronic musicians, yet Sam’s schooling [at Chetham's School of Music] grounded him in some epic Chamber compositions. Olivier Messiaen’s Quatuor pour la fin du temps (Quartet for the End of Time) is treasured by Sam, a work he “doesn’t listen to lightly”. Penned in 1940-41 when Messiaen was a prisoner of war, the piece premiered to 400 POWs and guards, prompting its composer to later say “Never was I listened to with such rapt attention and comprehension”. Sam explains the structure in the opening movement (‘Liturgie de cristal’) “It’s all loops! He has a rhythmical loop, and a harmonic loop on the piano; seventeen rhythms and twenty-nine harmonies. At the end, it stops in its tracks, gazing into eternity”.

Such insight casts light on the remarkable rhythmic and harmonic patterns which frequent Floating Points music. “I turned to writing dance music because it’s quite immediate, you can sit at your PC, then a week later play it in a club. Writing Classical music is hard! It’s slow, you can’t always find an orchestra!”

Read about the Floating Points Ensemble and all other things eglo,  including talk with Alex Nut, FunkinEven, Fatima and Shuanise, in SHOOK 006.

myspace.com/floatingpoints

soundcloud.com/floatingpoints

Music that needs to be heard on vinyl, so much depth! The 12″ is available from tomorrow on Planet µ. Track it down.

‘K&G beat’ remains my favourite floatingpoints concoction.

More on floatingpoints and his Eglo family in Shook 006.