Classicly-trained Flotaing Points has flirted with all the scenes in Londons underground dance scene - a bit of funky, a byte of garage (puns definitely intended) in his wonderfully sprawling dance tracks. Peoples Potential is possibly his most housey track to date, but that means little as his painstakingly crafted tracks are still vastly different to anything anyone else is producing.
Sam Shepherd (the real name of Floating Points) has a unique method of constructing dance music, carefully his melodies float in and out of the listeners attention, never completey overpowering or disappearing altogether. One line is brought to the foreground while others mingle in the background, vying to be brought back to be the centre of attention, by which Floating Points can build and release multiple times through his tracks, each time subltly different from the last. An insistent synth riff comes first, leading onto a drone that develops into a flickering noise which demands urgency. The way the riffs are contantly changing makes the track organic, and this feeling is only heightened by the eratic jazz piano that appears out of nowhere halfway through the track, snakes around the synth line, dances with it, but never overpowers it. Maybe not quite as good as some of his other tracks, especially like K & G Beat, but this track certainly shows how Shepherd refuses to be confined to one particular scene, and still amazing in its own right.
Sam Shepherd (the real name of Floating Points) has a unique method of constructing dance music, carefully his melodies float in and out of the listeners attention, never completey overpowering or disappearing altogether. One line is brought to the foreground while others mingle in the background, vying to be brought back to be the centre of attention, by which Floating Points can build and release multiple times through his tracks, each time subltly different from the last. An insistent synth riff comes first, leading onto a drone that develops into a flickering noise which demands urgency. The way the riffs are contantly changing makes the track organic, and this feeling is only heightened by the eratic jazz piano that appears out of nowhere halfway through the track, snakes around the synth line, dances with it, but never overpowers it. Maybe not quite as good as some of his other tracks, especially like K & G Beat, but this track certainly shows how Shepherd refuses to be confined to one particular scene, and still amazing in its own right.
Peoples Potential // Floating Points:
K & G Beat (his best track to date):
myspace.com/floatingpoints
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