Review: Ever since it was debuted by Benji B on his Radio 1 show all those years ago - and released as a 7" in 2011, 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, Mr Shepherd retains his trademark jazz touches and penchant for deep pools of sub bass, with an epic introduction of soaring synths and rippling arpeggios. On the flipside 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: Sam Shepherd has long been a master of the kind of ultra-deep, rolling, soft focus deep house that raises the spirits and soothes the soul. Even so, there's something incredibly special about "Nuits Sonores", the lead track from this must-have EP. Based around a deep, tactile groove and blessed with rising synth solos, dancing acid lines and his usual fireside Rhodes antics, the track rises magnificently for 12 spellbinding minutes. As it progresses, further elements make their way into the mix, until it reaches the kind of organic deep house climax that makes even the grumpiest souls go weak at the knees. Flip for "Nectarines", the kind of loose-limbed fusion of deep house sassiness, Detroit techno electronics and fluid jazz drumming at which Shepherd has always excelled.
Review: The world of underground dance music may seem to be fracturing into ever-smaller subdivisions, but it's fair to say that no matter what your disposition is, the arrival of a new record from Sam 'Floating Points' Shepherd is generally something to be celebrated by all, especially given his last release was the single-sided Wires record last year. Naturally arriving via his own Eglo Records, the two track King Bromeliad is vintage Floating Points and offers two distinct sides to the Sam Shepard production palette. The title track commences with what could feasibly be a field recording of people gathered outside Plastic People before a rousing rhythm of jazz infused house comes bumping in and has you hooked for the next eight minutes. It's more than matched by the epic "Montparnasse" which exudes a more electronic approach over 11 heavenly minutes. Yes Sam!
Review: The latest instalment in the long-running 'Late Night Tales' series has been curated by experimental beatsmith and jazzbo Floating Points. Sarah Davachi's opener 'Untitled' sets the tone: essentially seven minutes of a single modulating synth chord, it's an early warning that this is no cobbled-together collection of 'chill-out' tunes destined for Top Shop's in-store soundsystem, but instead a journey to some of downtempo music's more far-out fringes, where you'll find straight-up soul and jazz nestled up alongside 70s agit-folk, flotation tank ambience, experimental electronica and more. It might all be a little dense and daunting for the uninitiated, but Floating Points fans will lap it up.
Review: As part of a cultural exchange programme that found Floating Points and James Holden travelling to Morocco to take part in a unique collaborative week next to the pool at the Fellah Hotel. Working with Maalem Mahmoud Guinia and his band, the British artists turned in their own versions from the sessions with excellent results. Floating Points takes a delicate approach to the source material, slowly feeding in considered synth lines to accompany the traditional claps, chants and guembri. James Holden meanwhile offers up three different tracks which instantly fall louder, working more effects processing into the mix and capturing a rough and ready African production vibe that equally complements the music.
