Floating Pointstends to embellish things. Ever since Sam Shepherd started switching between his three jobs (DJ, producer/remixer and Eglo Records label boss) and leading a live band with which he exercises one of his passions, electronic jazz, his music has become more and more opulent. There are more arrangements and twists with every release, he’s no longer simple a beatmaker with wonky tendencies. The two tracks on this 12” on Eglo are more proof, because you can hear different sounds collide. There’s funk, house and boogie: “Marilyn” is an update of the broken beat sound of artists like Bugz In The Attic, less virtuous in the rhythmic production but more so in the arrangements (or, as said before, the embellishments).
Both on the main track and on the B-side, “Faruxz”, there are beautiful string arrangements that pay tribute to disco and coffee table music, that slow kind of funk for lovers of cosmic sounds in the vein of Roy Ayers. Floating Points made it clear a while ago that that’s the way he wants to go – a return to the most spiritual side of seventies black music, something that can be heard as well on his productions for Fatima, but always with a bit of house groove, and, judging from the results, he’ll be doing that for a long time still. Is he an heir of Domu and 4Hero instead of the more elastic and mature version of Hudson Mohawke’s wonky? Not a bad idea.