It doesn’t seem like London-based fractured electronic trio Factory Floor should – just this week – be releasing their debut LP. They’ve been around in some iteration since the band was formed in 2005 by Gabriel Gurnsey and Mark Harris, and who were later joined by Dominic Butler. Harris eventually left the band after a handful of releases and was replaced by Nik Colk (aka Nik Colk Void – formerly of KaitO) in 2010. After a few releases in 2009, most notably their “Bipolar” single on Outside Sound and the Planning Application EP on One of One, the band released the critically acclaimed and apparently very scarce Talking On Cliffs mini-LP – which drew inspiration as much from their own inter-band dynamics as it did from each member’s previous solo output (i.e. Felt Suit and Lo-Light).
After sharing Talking on Cliffs, the band signed to the Blast First Petite label, where they released several twelve-inch singles – including “Wooden Box,” which featured a remix from Stephen Morris (Joy Division/New Order). The band actually send Morris a CD and asked if he would do a remix for them. Taking an interest, Morris went on to work with the band as a producer for some of their later releases. And so through an extended run of straight singles, mini-LP’s, and twelve-inch releases, Factory Floor has finally gotten around to giving us a sustained blast of their unique “post-industrial” electronic surge. This week the band released their self-titled debut for DFA Records and headphones around the world felt a slight twinge of fear. Utilizing live and programmed instrumentation, Factory Floor stands as the culmination of the band’s zigzagging evolution and balances subtle electronic wizardry with throbbing bass-driven rhythms in a way that both caters to fans’ expectations while also subverting them.
Earlier this week, Gabriel sat down with Beats Per Minute to talk about some of the records which helped to influence the band’s debut LP, as well as their past releases. You can see how the band has incorporated some of the sounds of these records (Ambient 2 from Brian Eno and Harold Budd is a prime example) and twisted them, allowing the influences the room to contort and mutate in an arcing trajectory throughout their music. While other records from Chris Carter and Wolfgang Reichmann display a sense of understanding of the basic nature of the genre (or genres) within which they operate. Check out his full list below in the latest installment of our On Deck series.
Chris Carter – The Space Between
This album to me is a perfect example of the genius production and mixing skills Chris has. The space and atmosphere he gets in his tracks using just very simple elements is mind blowing. I love the rhythms he creates and although he forms them using machines they always seem really organic. “Clouds” is my favourite track.
Prince Far I & The Arabs – Cry Tuff Dub Encounter, Chapter 1
Check out the production on the drums and percussion on this record. pure liquid . This is also one of King Vince the bulldog’s favourite records to mellow down to.
Brian Eno & Harold Budd – Ambient 2 – The Plateaux of Mirror
I used to listen to this on the bus in the morning when I was travelling to work at this cold warehouse in north London years ago. It helped me get through Hackney. Now I use it as therapy music to try and forget about all the shit bongo and cowbell out-takes from the FF album sessions. They haunt my memories!
Land Observations – Roman Roads
I’m listening to it now while I’m typing . Its a nice example of “repetition is a platform for free thinking” and it’s not dissimilar to the way we build our tracks. It’s easing my Polish vodka hangover nicely too.
Wolfgang Reichmann – Wunderbar
I’ve got great memories of us three driving back through the rolling hills of Macclesfield to London listening to “Himmelblau”really loud in the car after working on “Real Love” at Stephen Morris’s studio. Such an exciting time for me and FF.
Factory Floor’s self-titled debut LP is out now on DFA Records.
