I’ve long wondered how successful an album based almost purely on sequencing would turn out. No melodies, chords, pads, structure etc etc.
‘Floating Point’ comes as close as any album I’ve heard to answering the question. It’s not 100% sequencing, but it’s pretty close. Three of the four
pieces, each of which hover around the 20 minute mark, dispense with virtually all forms of flotsam and basically ride on a wave of ever shifting
electronic pulsations. The result is totally mesmeric at times and any fan of sequenced music will, I’m sure, be totally bowled over by it.
Korg MS20 seems to be the main source, and the analogue overtones simply add gloss to an already fine package. The album starts fairly
conventionally with held pads decorated with echoed NASA samples. A couple of minutes into ‘Approaching Floating Point’ the sequences start,
lock into a groove then really go for it. Everything else fades out, leaving glorious electronic pincers to blend a hypnotic formula. The tapestry is
ever shifting - voices are tweaked and detuned, filters adjusted, attack and decay manipulated. Heavy amounts of echo make the patterns complex
and infectious, and the result is almost a reference guide to sequence riffs. Snippets of classic Tangerine Dream appear for a few seconds, then
fade as the ever developing plot unfolds. A short burst of NASA samples reappear at the 11 minute mark, and the sequences continue to mutate in
the background jumping up and down the scale in brilliant fashion until they finally fade after 22 minutes.
‘Floating Point Threshold’ serves up another completely stunning sequence riff, this time pitched slightly lower giving it a robust and powerful air.
Sustained mellotron choir sounds are used for effect, but again the sequences dominate as bursts of white noise enter the fray and a
supplementary bass throb fills out the sound even more. Schulze, AirSculpture, NODE, Redshift - all these artists come to mind as the sequences
are broken apart and reformed in ever more fascinating patterns. The choirs fade at 10 minutes, propelling the sequences to gather even more
momentum - and there are moments here to match any sequencing I’ve ever heard. Meltdown seems constantly imminent - I suggest you keep
plenty of cool water handy to douse the speakers.
‘Drift’ is the complete antithesis of everything else on the album - but it’s much more than just a token floater. It’s pitched perfectly, with a very
uplifting feel to it, reminiscent of the latter parts of ‘Rubycon’.
The album closes with ‘A Few Moments After Floating Point’. I must admit I wondered if the sequences could live up to what had gone before -
incredibly they do! They crash onto the scene like a wall of sound and the way the pulsations explore both ends of the scale is magnificent.
Unfortunately there’s a short burst of ‘Ricochet’ featured which just doesn’t work for me, but it’s a brief blemish on an otherwise fantastic electronic
escapade.
This is a hugely enjoyable album. It feels like 20 years of pent-up sequencing emotion has imploded into 70 minutes of raw pulsating energy. It
could sit on the ambient/chill/trance shelves with ease - yet it’s effectively an A-Z of “Berlin School” sequencing. After a full sitting you’ll probably be
completely punch drunk - but I’m sure you’ll have a smile on your face! (GG)
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