Elaenia

Artist: Floating Points

Released: November 2015

Length: 42m 40s

My review:

After a string of successful singles and EP's released mostly on Eglo Records, a label that he co-founded with Alexander Nut of Rinse FM, Sam then released Elaenia - his debut album, an incredibly concise and coherent body of work that straddles the acoustic and digital soundscapes. Drawing inspiration from both and combining them to create a modern twist on a more classical approach to arranging and conducting, producing what I can only describe as a hauntingly beautiful, electronic symphony of sounds.

When I close my eyes I imagine Sam centre stage, surrounded by musicians with instruments, multiple synthesisers and a sea of cables and speakers, conducting the people while simultaneously twisting and tweaking various knobs and pressing keys and buttons, colliding two contrasting styles into one seamless, uniform sound. With its many ebbs and flows this record feels like a performance, similar in style to watching an orchestra live, there is a certain gravitas that is pinned on the different timbres and how they interact with one another and each take their turn in the spotlight.

Both the tempo and volume have been used to great effect across this album, altering the mood and carefully directing you through the narrative. The quieter parts gently reminding you when to pay more attention while the increase in volume lets you know that things are starting to shift and change. The tempo fluctuates massively throughout the piece also, with slower speeds usually associated with more mellow relaxed states, while faster sections are linked to excitement, energy and the perception of pleasure or happiness.

We are immediately thrust into the action with the mid volume and high tempo sound of Nespole, with looping synths providing a distinctly electronic backdrop conjuring ideas of automation and robotic mechanisms. There is little change in the first half of the song other than the addition of a few overlapping synths before some modulation breaks up the monotony. Silhouettes (I, II & III) slows things down slightly to 135 BPM and starts off with a low volume, this is the longest of the songs and has 3 distinct movements. It is also the first time we are introduced to more classical instruments found in an orchestra, initially with the bass and drums and then later with the strings. It has a more organic and natural feel as it develops with the electric keyboard helping to connect the sonic space between the digital synthesisers and the acoustic instruments. This is also a big highlight of the record for me, the swell of strings and voices at the climax are alluring and beautiful and then fade out leaving us with the mostly quiet and barren digital soundscape of Elaenia. The title track resets the mood with the modulated bass and stabs of high pitched notes bringing an eerie and mysterious aura as we enter once again to the automated arena, guided through by the gentle keyboard in the final third. Next up is Argenté and Thin Air two tracks that use the exact same set up of synthesisers allowing them to flow effortlessly into one another. The former starts off quiet with a simple loop slowly intensifying in volume until it reaches its peak and is overladen with more pulsing and heavy yet uplifting synths, creating a mesmerising feeling of wonder and discovery before it all gets stripped away for the later. We are then left with a scratchy beat and an anguished, apprehensive gut feeling that lessens as we progress through the song and are treated to the same (or a very similar) synthesiser loop that we heard previously. This allows you a moment of recognition before it quickly fades away and you are once again in foreign territory, feeling alone and on edge. For Marmish sees the reintroduction of the classical instruments heard in Silhouettes (I, II & III) a welcome return, starting off quiet and with the slowest tempo heard on the record. The dull thud of the bass drum keeps you plodding along through the track while the other instruments give you a sense of calm and comfort, a return to a more familiar sound. Last up we have Peroration Six, my stand out song which I go into more detail in below, but a genius ending to this exploration of emotions and vibrations.

Since this album Sam has further cemented his place in music as an instrumentalist, DJ, radio host, writer and producer collaborating and working with musicians and even composing an original score for the San Fransisco Ballet in 2024. This record gained a good reception when it was released but I believe it will be looked on in an even kinder light going forward, as more and more people appreciate the multi layered, emotion evoking work that flawlessly manages to interweave ideas from the past and present, but with a firm view to the future.

Stand out song: Peroration Six 

I have never not listened to this album in full and all the way through, so I wouldn't suggest just listening to a single song as this, perhaps even more than most albums, has been composed as a complete piece of work with the express intent to be listened to in its entirety. Saying that my stand out song has to be Peroration Six, I love the crescendo to the finale, lightly building and building until it becomes almost unbearable with the volume and the final addition of a few beeps that increase in pitch before it all cuts out, just before the climax. This act of playing with your expectations and anticipations is something that all the great composers of old understood, toying with your emotions and pandering to the pattern finder in all of us, wether musically trained or not. Anyone listening can tell that the song shouldn't naturally end here, with the abrupt nature of the cut off not allowing the return to the tonic or even the resolution of finishing the bar, leaving the listener in a state of tension or dissonance. The first time finishing the album I was left with the jarring feeling of uneasiness, and so has it happened every other time since, that is part of the beauty in it, even though I know what is coming I cannot fully prepare myself, it always catches me off guard, leaving me in a state of doubt and uncertainty every time.

When to listen: 

There isn't a specific moment or time I have found that is better to listen to this album that any other, but what I can definitely say is that it needs your undivided attention. There is a very strong orchestral sound and flow to the record, so similar to watching a live band or orchestra, you need to allow yourself to be taken in by the experience and properly listen, using all your senses. I find turning all the lights off is a fantastic way to get rid of background distractions and really shift your focus and attention solely to the music.

Spotify: Listen here

Vinyl:

The UK 2015 pressing I have is immaculate, a sound you get totally absorbed by, even the quieter sections hold so much weight. Also included is a booklet printed on lovely thick paper, noting the instruments used and which musicians were playing them. On the reverse is some interesting information about the artwork that was created using For Marmish one of the tracks from the album. There are two more 12" inch prints inside that are similar in style to the cover, using a similar method to create them but potentially with some of the other tracks from the album. I love the clean and contrasting design and almost exclusive use of black and white, even the typeface is beautifully simple but totally in keeping with the theme. The only exception is the inside of the sleeve, here you can peer inside and catch glimpses of the studio, I presume where the album was conceived, in full colour! Because you need to squash the sleeve to look inside and because you are straining due to the awkward angle, it gives you the feeling that you are gazing upon something you shouldn't be. For me it is a lovely little detail that really shows the level of attention accomplished while also conveying the feeling of discovery and intimacy, it makes me wonder if other people appreciate or even notice these minor details. Link to the vinyl I own here - Discogs link

Other useful links:

You can find his website below promoting his latest LP Cascade along with any upcoming tour dates and merch - https://www.floatingpoints.co.uk/ 

If you like this try these:

Leon Vynehall - Nothing Is Still

Flying Lotus - You're Dead!

The Cinematic Orchestra - Motion