There are few things Sam Shepherd isn’t good at. The British producer, known as Floating Points, holds a PhD in neuroscience and has released critically acclaimed albums over his nearly 20-year career. He’s traversed the boundary between classical and jazz while establishing himself as a formidable force in electronic music. His collaboration with the late great avant-garde saxophonist Pharoah Sanders earned him even higher status. While his recent work suggested a shift toward opportunism, his latest release, Cascade, sees him prioritizing minimalism and straightforward electronic composition.
His early EPs and singles, dating back to 2009, reflected his admiration for the electronic music he loved while growing up. He broadened his vision with his debut studio album, Elaenia (2015), which blended analog and electronic instruments and featured a touring 11-piece ensemble known as Floating Points Ensemble. In contrast, his acclaimed follow-up, Crush (2019), was conceived as a 30-minute improvisational set utilizing only a Buchla synthesizer and a Korg drum machine. Shepherd consistently creates captivating arrangements, proving that whatever he touches turns to gold.
Cascade opens with “Vocoder (Club Mix)”, which features fluttery synth stabs and bubbling chord progressions over syncopated rhythms. The bass pulses and metallic cymbals ring out. Voice samples echo like a broken record, intensifying just before the drop. “Key103” quickly introduces a throbbing bass pulse, with echoing synth plinks ricocheting like sound off the walls of a small enclosure, creating a strange, conversational back-and-forth. High-pitched whirls ramp up the intensity as piercing sounds give way to a stabby bass line, evoking the sound of a video game character, like Mario, swimming through a level.
“Birth4000” features a whistling melody that morphs into a synth sound—the bass synth punches with syncopation, compelling even the stiffest to bend a joint. “Del Oro” appears as a straightforward dance track but transforms into a magical array of colors. The layering of simple melodies and ostinatos recalls the minimalist work of Steve Reich. “Ocotillo” stands out as a highlight. It opens with a sparkly timbre, blending harpsichord and synth, using space to create a haunting starkness. Shepherd utilized his grandfather’s harpsichord, which was also featured in his collaboration with Pharoah Sanders.
“Fast Forward” introduces an arpeggiating synth passage, with scintillating notes soaring above as the bass pounds through high-pass filters. “Affleck’s Palace” incorporates one of the few real instruments on the album; near the end, a digital drum beat transitions into fills and beats on an actual kit. “Tilt Shift” features a quick breakbeat permeating the track while high tones wash over the top. Compositionally, there is a captivating movement. Shepherd carefully introduces each element, and the diverse filters create an impression of riding a tilt-a-whirl with water in your ears.
This sense of movement is enthralling; many pieces feel as if Floating Points is turning the knobs right in front of you. An improvisatory vibe keeps the listener engaged. The soundscapes ebb and flow like wind through valleys, showcasing Shepherd’s ability to mix electronic elements with real instruments, resulting in something organic. The duality of electronic and classical music is evident in this blend. Just because he created these tracks with a computer doesn’t mean he has overlooked the rawness of analog instruments played by complex human hands.
Cascade may not be a grandiose endeavor for the polymath, but it demonstrates that he hasn’t forgotten his first love. He returns to form, suggesting a yearning for the excitement of live shows (thanks to COVID). Across nine tracks, Floating Points guides listeners through a series of self-reflective passages and hard club drops, suitable for both sweaty dance floors and moments of existential solitude. In any case, Shepherd proves he excels at whatever he devotes his energy to.