There’s a clear sense of identity running through the self-titled debut from the electro-acoustic quartet Floating Sheep. Rather than positioning itself as a showcase of individual moments, the album feels structured around the central idea of rethinking how unusual instrumentation can function within a contemporary jazz framework.
Across the record, rhythm plays a defining role. The percussion, led by Yair Ben Shalom, consistently anchors each piece with grooves that feel both grounded and flexible, often drawing from global influences without leaning too heavily on any single tradition. This allows the music to move fluidly between styles, maintaining cohesion even as the tonal palette shifts.
At the forefront is Bar Hadash’s use of the handpan, which is repositioned here as a lead instrument rather than a textural one. Throughout the album, it navigates melodic lines with a clarity and control that aligns more closely with modern jazz phrasing than its more common ambient associations. This approach is central to the album’s overall character, giving it a distinct sonic identity.
‘Turkish Kawabanga’ stands as one of the record’s more direct statements, built around a deep, driving groove and a tightly controlled interplay between handpan, saxophone, and synthesisers. The track highlights the ensemble’s ability to balance structure with improvisation, allowing moments of intensity to emerge without losing focus. Elsewhere, the album shifts into more spacious territory, with passages that emphasise atmosphere and gradual development.
Maayan Sherman’s saxophone and flute work adds another layer of contrast, moving between more melodic phrasing and sharper, more forceful lines. Meanwhile, Ofek Ram’s synthesisers introduce an electronic dimension that broadens the album’s scope without overshadowing its acoustic core. The interaction between these elements is carefully managed, creating a sound that feels layered but not overcrowded.
There are points where the album’s exploratory nature recalls artists such as The Comet Is Coming, particularly in its use of repetition and evolving textures. However, ‘Floating Sheep’ remains grounded in its own approach, defined by its own internal balance.
Despite the complexity of its components, the music rarely feels excessive, as each piece is allowed to develop at its own pace, with a clear sense of direction guiding the improvisational elements.
As a debut album, ‘Floating Sheep’ looks to establish a cohesive framework that prioritises rhythm, texture, and careful interaction, all while leaving space for further evolution.