Perhaps the name says it all – Sam Shepherd is not a man concerned with restrictions. You might have him down as a beat head (thanks to the ‘For You’ 7”) or a future boogie merchant (the ‘Love Me Like This’ release) or two-step innovator (‘K+G Beat’). And you could be right – but, in reality, this is just surface stuff: “I don’t really think about it. It’s all the same to me,” offers the Manchester-born producer.

Rather than talk about micro-scenes or genres, Shepard is happier directing you to both his classical past and his current varied record collection – or indeed, his occasional Tweets of links to jazz gigs or Debussy performances - as an indication of what Floating Points is about. As a boy, his vicar father realised he could sing, and encouraged him to join a local choir. As a result, he ended up attending a music school, which led to training in composition and jazz piano.

He spent his teenage years messing around with vintage equipment, and makes a point of noting the influence his composition teachers had on his approach to creating music: previously, he has cited the likes of Stockhausen and Varese ahead of Atkins and May as key influences.

I'm not bothered what scene adopts me. I don't feel like I belong anywhere

So when we ask about how long we has making music before his first release, his answer is, understandably, vague. “I had had lots of performances of my classical stuff at the Proms/Southbank etc, but never a record (released). So I guess it’s 12 years since I started. But a lot of the stuff that is surfacing now is quite old…”

You’ve been ‘adopted’ by a number of different camps since the first 7” - where do you feel most comfortable? “Nah, I’m not bothered who ‘adopts’ me. I don’t feel like I fit in with the beats scene, whatever that is. I don’t feel I fit in with the house scene. I certainly don’t think I fit in with the dubstep scene! It probably doesn’t matter, but, on the flip side, I don’t feel like I belong anywhere.

“When people tell me they play ‘Love Me Like This’ at a dubstep night, it both confuses me but also, it’s kinda refreshing. Peeps say they have been playing ‘K&G Beat’ out a lot at dubstep things. I’ve never had the balls to! I’m not really sure where my music fits…”

On what’s been released so far, it feels like Floating Points arrived almost ‘fully formed’ – every track sounds like something that’s been worked on and refined quite a bit. Have you been sitting on these tracks for a while? “Some of it is ancient. ‘Esthian’ (on Mary Anne Hobbs’ new ‘Wild Angels’ comp) is old, so are ‘K&G/J&W’ - they are years old actually. The ‘Shangrila’ tune on the R2 release is five or six years old I think! ‘Vacuum’ was done on a train from Manchester to London in February. So some old, some new.” Do you feel any pressure? “Yes, but only from myself!”

How did you end up releasing on Planet Mu? Two years ago, I would have been surprised to hear a record like ‘K+G Beat’ on the label. “I got a call from (label boss) Mike Paradinas after my mix on Mary Anne Hobbs’ show. It was mad, because when I was 18 I used to go to their raves.

The only pressure I feel is from myself

“One in particular at Jacks SE1 with Venetian Snares, Virus Syndicate and µZiq was amazing. I loved µZiq (Paradinas’ own stuff) and his albums were strong in my collection. Also, years ago on their website it said “A&R: ‘Don’t send any half baked shite’” – ha ha! I was almost tempted to send things like ‘K&G’ to them a few years ago but I think that put me off! So was really nice to get that call.” Do you have more planned with them? “I really want to do some more stuff with them and I think they are up for it too. So it’s not a one-off.”

You recently record a Floating Points Ensemble Madia Vale session for Gilles Peterson. What is the Ensemble about? “We are basically a bunch of friends. I wrote some music and we all played it. It comprises four strings, two brass, guitar, bass, drums, percussion and a singer (Fatima) - I fumble around on Rhodes and synths.”

How important have the likes of Gilles and Benji B been for you? “Massively! I don’t really need to explain why, but they are top people - they don’t just play your tunes, they offer feedback which is wicked. Mary Anne Hobbs and Patrick Forge too… and of course Alex Nut! Forge was playing my stuff before anyone. He has been a massive inspiration for me. The Maida Vale session was great fun - I would love to do more live stuff.”

You co-run the Eglo label with Alex Nut - what else is planned? “We’ve got this wicked EP from Funkineven 1956, that’s getting mastered in a few weeks. It’s ridiculous! It’s gonna be a club essential, each tune is a banger. It’s melodic, intricate and ACID! Also Fatima is beavering away at an EP. I’ve heard a few bits and that’s gonna be good. She’s got a great range of sounds hidden that she applies to herself with such grace. Also Shaunise is finishing up an EP too, - she’s another great singer who touches multiple tonal and melodic bases, which creates loads of depth. Her lyrics are really strong too. Each release saying something different I think.”

What are your DJ sets like? “I really enjoy it – I’ve been on the record thing since I was 13, but I never considered myself a DJ. When I lived in Manchester as a kid, most of the music I wanted to get hold of - jazz and classical stuff - was cheapest to get on wax, so it made sense. I ended up buying some turntables and then started buying loads of (really crap) piano house too, ha ha!

“My records span all sorts from Syrian, Indian, classical, jazz, house, dubstep, hip hop, soul - I DJ all sorts. I’d say about half of my collection is classical and jazz. The rest is a mess… I like hip hop, but I know very little about it! I like a lot of old techno too – but what annoys me with a lot of modern techno is that a lot of the sounds are so samey: techno for techno’s sake. It must have been so exciting when those synths were coming through, never before heard sounds woven into compositions…

Finally, I think there’s one underlying theme to what you do: soul. Do you agree? “It would be a little narcissistic to agree!”

‘Vacuum’ is out now.
www.myspace.com/floatingpoints