Mia Lasic-Ellis

In 2019, Sam Shepherd, more commonly known as Floating Points, released the album “Crush.” With a run time of 44 minutes, the compilation presents a diverse array of the dynamic energies within electronic music. The album defies expectations and understandings of dance/electronic music—the world frequently inhabited by Floating Points—through its distinct experimentation. One evening this week, Jack Behrens ’27 and I listened to “Crush” in my Brunswick Apartments living room while the sun set. We also decided to work on a jigsaw puzzle (shoutout Katie Tran ’27 for having good puzzles) because it seemed like an appropriate activity for an album-listening session.

At first, I took notes on Jack’s behavior as he worked on the puzzle. However, after the first ten to 15 minutes, it was clear that his movements were limited to the occasional head nodding, an intense devotion to the puzzle and, unfortunately, an inability to put more than four pieces together. At one moment, he said, “This is very good puzzling music. I don’t think it’s making me any better at this puzzle.” Moments later, he added, “Please do not include that I only put four pieces together,” to which I responded, “I already did that.” In my notes, I wrote: “Around the start of the second track, ‘Last Bloom,’ he begins to acquire some momentum.”

To avoid further struggle on Jack’s part, and to simply enjoy the listening experience as well, I joined the puzzle work. We proceeded to work in silence with a rare comment here and there on the quality of some song or whether or not it was appreciated. A few quotable moments were: “Oh, sh*t, a house track” when “LesAlpx” came on, “This one sounds like ‘The Smile,’” some nodding at “Bias,” “I like that one” when “Bias” finished and, finally, a “damn” after “Environments.” All in all, Jack demonstrated a responsiveness to the album through his demeanor, his occasional intrigue, and the blue-moon appearance of an intent look on his face as though he were seeing something only he knew existed. And, most importantly, we managed to finish the jigsaw before the album closed.

Because we had a short window for our session, Jack and I continued the conversation through different mediums, including text. As a result, I’ve formatted our discussion in the following script-like style:

Initial reaction?

Much less jazzy than the record with Pharaoh Sanders. I guess that makes sense. Having only listened to that album I didn’t know how straight ambient Floating Points would be.

Did you like it or not?

It was excellent puzzling music. Puzzling in that I was doing a puzzle, not that it confused me.

Favorite track? Why or why not?

The cool thing about ambient listening experiences is that you can experience the album divorced from where songs start and stop or what they’re called. That said, I’m not sure if I had a favorite track. There was an Aphex Twin-like moment on the back half that I really enjoyed though.

What feelings did the album elicit?

Intense focus and cortisol. It was an intense experience, and at certain points I even toyed privately with the idea of asking you to turn it down a bit. But I decided that the intensity was inherent to the experience and embraced nirvana. It did make the puzzle feel like diffusing a bomb though.

What aspects of the album stand out to you?

The album cover initially attracted me, and I like the title, “Crush.” I think they’re both accurate to the experience of listening to the album.

Does the song remind you of anything? Can you associate it with anything?

It reminds me a lot of Oneohtrix Point Never but a bit more pulsing and energetic.

Do you listen to music like this? Would you (if not)?

Yes, I love this type of music and will be checking out more Floating Points.

How do you think your reaction to the song would change if heard in a different environment?

I really liked listening to it as the sun set and things in the room took on their darker qualities. I don’t think I could listen to it on a walk in the woods or, for example, reading a sociology textbook. [Note: This is an inside joke.]

What is so appealing about “Crush”? Large sections of songs will be jerky and sharp. Others are prolonged dramatically, primed to induce fear. But, ultimately, this is what Floating Points knows best: how to manipulate the response of his listeners. He plays with their inclination to dance through infrequent but sharply arranged introductions of consistent rhythmic patterns, and he encourages their minds to linger on especially interesting melodies. Through his comprehensive display of noise, he trains the mind to filter music and challenges its interpretation of complex sounds.