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Floating Points – Marilyn review

It feels as though Sam Shepherd’s output under his Floating Points guise has been huge of late, so prevalent is his name in the current dance music landscape, but really his legacy thus far is made up of just a few pristine gems. Thankfully, the latest two-track jam for his own Eglo imprint sees no dip in the quality, further cementing his reputation as a naturally gifted producer steeped in an understanding of soul and groove.

The A-Side “Marilyn” is destined for countless airings this summer, bursting with effervescence and pure good-times vibes from the deceptively smooth intro to the bumping boogie of the drop. It’s the sheer musicianship that instantly places Floating Points above the glut of have-a-go beatsmiths, as expressive warbles and flairs flirt with each other before the funk slams in from out of nowhere. That aforementioned drop is certainly a magnificent one, precision-honed to break a grin across every mug in shouting distance with parping bass and the barest of percussion to propel things along.

“Farukx” however is a perfect antidote to the peak-of-the-summer tones resplendent on “Marilyn”. After lilting to life on a bed of wistful strings, when the beat does come into play it’s a steppy stumble of gossamer hats and snares that manage to trip over each other in disjointed harmony. There’s a yearning quality to the music that tugs at your heartstrings, occasionally reaching a crescendo with a flurry of the rubbery synth that drives the A-Side.

Oli Warwick