"MB" is a disco edit, sure, but a curiously stiff one: its looped pizzicato violin and furtive Rhodes are as unsettling as they are propulsive. (A tiny, off-beat woodblock ensures that the groove stays metronomically straight.) Joe has tackled slower tempos before, but never has he ridden the groove so comfortably, allowing the filters and claps to do the talking.
"Studio Power On" strays into more familiar territory for Joe, collaging samples of what sounds like glass-smashing and wood being sawed into a loose, boxy beat that sits discreetly beyond categorisation. The whole thing is presided over by a bizarrely querulous synth line, a soft, flute-like sound that struggles to articulate itself. For the most part, we just sit in lip-biting stasis, riding those thick globules of sub bass, but at the eleventh hour a hazy pad fades in and the beat reconfigures itself into a sort of half-time house groove—just the kind of leftfield move you'd expect from Joe, but no less gratifying for it.