{"id":96339,"date":"2015-10-29T10:01:07","date_gmt":"2015-10-29T09:01:07","guid":{"rendered":"http:\/\/www.kraftfuttermischwerk.de\/blogg\/?p=96339"},"modified":"2015-10-29T10:01:07","modified_gmt":"2015-10-29T09:01:07","slug":"album-stream-floating-points-elaenia","status":"publish","type":"post","link":"https:\/\/www.kraftfuttermischwerk.de\/blogg\/album-stream-floating-points-elaenia\/","title":{"rendered":"Album-Stream: Floating Points – Elaenia"},"content":{"rendered":"

Im November erscheint Floating Points‘ Deb\u00fctalbum „Elaenia“. NPR hat es jetzt schon im Stream<\/a>. Ich lass das hier gerade mal durchlaufen und bin sehr angetan. <\/p>\n

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„Since making his debut in 2009, Floating Points‘ Sam Shepherd has been an oddball in England’s dance-music scene. Though the first in his steady stream of singles came out during the U.K.’s fruitful period immediately following the rise of dubstep, it was instantly clear that Floating Points didn’t fit the scene. His music was generally slower. It was more traditionally funky than anything tagged „bass,“ and engaged with house and disco ideas without being overly didactic or traditionalist. He was reliant on live instruments (specifically keyboards) and used them like a player, composer and arranger, not a producer. In retrospect, it all makes sense. Shepherd grew up an accelerated musician, singing in the Manchester Cathedral Boys Choir for years \u2014 where he learned to sight-read music, and where they still perform his early choral works \u2014 then studied composition and piano. After he moved down to London and began making music for the dance floor and for his DJ sets (including a long-running residency at the legendary Plastic People), his recordings began to be based on improvisation.“<\/p><\/blockquote>\n