Showing posts with label Factory Floor. Show all posts
Showing posts with label Factory Floor. Show all posts
Tuesday, March 30
Factory Floor / FF - full-length debut
Factory Floor - now known officially as simply FF - are about to launch a renewed assault on the world's ears with a full-length release: 45 minutes, 4 tracks, 17th May. Untitled, out on CD and limited 10" vinyl on Blast First Petite, also includes a short DVD, Solid Sound. The experimental trio are currently on tour with Fuck Buttons, and play the Shepherd's Bush Empire with Liars in May. Don't miss out.
Monday, May 18
1234 Shoreditch Festival - 26th July 2009
Last summer was a fairly good one, but what it lacked was a whole day in a park in Hoxton experiencing the sound and vision of the foremost pioneers of the London music scene. Luckily, the 1234 Shoreditch Festival returns to Shoreditch Park on 26th July this year to set this right. This year the numbers will be down (about 20,000 people are reported to have turned up in 2007) and the price will be up, but the £15 ticket price is well worth it for the extensive range of music across three stages between noon and 9pm, as well as access to ten aftershow parties in the area.
So, to cut a long story short, the artists already announced include Ulterior, Ipso Facto, KASMs, An Experiment on a Bird in the Air Pump, Hatcham Social, Factory Floor, S.C.U.M, Wild Palms, Project:KOMAKINO, Advert, O Children, V.E.G.A.S Whores, Relics, Silhouette, Sunderbans, and CC-SB, as well as New York noise titans A Place To Bury Strangers - and more to be announced. Rumours are rife about the headline slots, but we've heard only good things... all details here. This is one to get excited about.
Full lineup so far...
BANDS STAGE:
ADVERT // A GRAVE WITH NO NAME // AN EXPERIMENT ON A BIRD IN THE AIR PUMP // A PLACE TO BURY STRANGERS // BANJO OR FREAKOUT // CC-SB // CHROME HOOF // FACTORY FLOOR // FLASHGUNS // HATCHAM SOCIAL // IPSO FACTO // KASMS // LION CLUB // O CHILDREN // POLLY SCATTERGOOD // PROJECT:KOMAKINO // RELICS // S.C.U.M // SILHOUETTE // SLOPPY SECONDS // SUNDERBANS // TELEVISED CRIMEWAVE // VEGAS WHORES // THE WARLOCKS // WILD PALMS // ULTERIOR // VIDEO NASTIES
ELECTRONIC STAGE:
**K // AUTOKRATZ // BOY CRISIS // DEATH TO THE KING // JOE & WILL ASK // KOOL KIDS KLUB // KRAZY BALDHEAD (ED BANGER) // LUNG ROTTER & SEVEN // MODEL FOR MEMORY // MICRON 63 // THE LOVELY JONJO
Full lineup so far...
BANDS STAGE:
ADVERT // A GRAVE WITH NO NAME // AN EXPERIMENT ON A BIRD IN THE AIR PUMP // A PLACE TO BURY STRANGERS // BANJO OR FREAKOUT // CC-SB // CHROME HOOF // FACTORY FLOOR // FLASHGUNS // HATCHAM SOCIAL // IPSO FACTO // KASMS // LION CLUB // O CHILDREN // POLLY SCATTERGOOD // PROJECT:KOMAKINO // RELICS // S.C.U.M // SILHOUETTE // SLOPPY SECONDS // SUNDERBANS // TELEVISED CRIMEWAVE // VEGAS WHORES // THE WARLOCKS // WILD PALMS // ULTERIOR // VIDEO NASTIES
ELECTRONIC STAGE:
**K // AUTOKRATZ // BOY CRISIS // DEATH TO THE KING // JOE & WILL ASK // KOOL KIDS KLUB // KRAZY BALDHEAD (ED BANGER) // LUNG ROTTER & SEVEN // MODEL FOR MEMORY // MICRON 63 // THE LOVELY JONJO
Thursday, April 30
Offset Festival: preliminary lineup
Offset Festival have announced the first few bands for their 5th-6th September weekend, and it's already looking good: where else are you going to see The Slits and A Certain Ratio rub shoulders on a lineup with The Horrors and Factory Floor? Limited super-earlybird tickets from £35 for the weekend are now available here.
Friday, March 13
Thursday, March 12
Offset Festival 2009: dates.
Our favourite festival of 2008 has announced its return to Hainault Forest Country Park this year. Offset 2009 will run from 5th-6th September and is a compulsory event for anyone and everyone who likes to watch interesting bands without being crushed by topless dickheads (although I believe they have a special stage for that kind of thing as well). Early bird tickets and, presumably, a line-up of sorts will be available soon. Until then, get a weekly taster at Buffalo Bar from the 24th with performances from Factory Floor and a secret guest at the inaugural Offset club night.
Thursday, October 2
Micron 63 single details.;
Here are the full details for the release of Micron 63's first single. 'Death Is Colder Than Love' will be released on 7" vinyl on 20th October, with 'Anatomy of No Escape' on the B-side. There'll also be a digital EP to download, featuring remixes by Ulterior/Zlaya, Factory Floor, and Killit. A sample of the A-side and the whole of the B are available to hear at myspace.com/micron63. As the next release from the DiscError label, we're pretty excited about this one; both sides display the collective's distinctive collision of techno melody and driving industrial beats. Micron 63 play with labelmates Ulterior on the 22nd, and apparently have something special planned to launch the single, so keep your ears glued open.
Wednesday, September 3
OFFSET FESTIVAL. review, pt. 1;
EXP. CIRC. TENT, SATURDAY 30TH AUGUST
The epicentre of the more interesting side of the weekend was the Experimental Circle Club stage. Erroneously but somewhat appropriately named ‘The Experimental Circus’ by one particular member of Offset staff, the tent provided high-quality sounds throughout the festival: the diversity of the music on offer was clear from a glance at the line-up, which progressed from the crazed electronoise of Cementimental opening the Saturday afternoon to a refined but joyful psychedelic set from Ipso Facto on Sunday evening.
The first song-based act to take the ECC stage was An Experiment on a Bird Pump, who drew a fair crowd thanks to growing media attention (as well as the backing of The Horrors’ Faris Badwan). Despite delays which lasted throughout the weekend putting their set back by an hour, the Birds didn’t disappoint, and their soulful vocals and grunge instrumentation provided a good warmup for what is still to come. They’re by no means a band given to vulgar displays of power and speed, but a taut energy ran through their set and their restrained pace and musical minimalism perfectly suited their afternoon slot.
They were followed almost immediately by I Am The Arm, reduced to a three-piece after the recent departure of bassist Kane Martindale and who give performance of great intensity but one which showed the strain of the reduction. It’s particularly clear when vocalist Cyan Assiter-Clark is forced to switch from bass to guitar, and then to synthesiser, in the space of only three or four songs that, having only recently replaced their drummer, the Arm clearly need a new bassist as well. But they’re still making strides in songwriting and technical competence and the future looks bright, particularly with rumours of a release with DiscError floating about. Only time will tell.
Although ddd were set to follow, Paul Simmons (the guitarist for Ulterior, making a guest appearance in place of the absent John Kontos) had left his guitar pedals in Hackney and, rather than accept the alternatives offered, had gone to fetch them and left a hole in the programme which was filled by Futurism Vs. Passeism. Unfortunately, the phrase ‘plagued by technical problems’ has never been more appropriate: with the drum pads and microphone both playing up and the band becoming visibly frustrated, relief was sought in the New Bands tent as they struggled through their set. The technical failures would have been disappointing to any band at any time, and must be a constant danger for Futurism’s extensive electronics, but for a group playing a return show with new members and material they proved doubly crushing. Hopefully a future demonstration of the band’s developments hasn’t been ruled out.
ddd, arriving on stage a short while later after Simmons’ return, proved a blistering contrast to Fvs.P’s mystical electronic meltdown. A sharp and noisy sound attack is always guaranteed with Darryl Woollaston’s project, but Simmons’ contributions lent it, if possible, even more anger - his frantic slashing at the high end of the guitar strings were a perfect background to Woollaston’s robotically rhythmic guitar and vocals. A triumphant collaboration.
After a weird and not entirely wonderful set from No Bra, whose cult appeal I fail to understand, there was a noticeable crowding of the tent in anticipation of a performance from S.C.U.M, the band of the moment. The group arrived from an earlier performance in Norwich only shortly before taking the stage, and there had been some ill-feeling over their requests for a later slot (which were not entirely unjustified when the rest of the day’s bill was considered). Although slightly robbed of their atmosphere by being performed in full daylight, Thomas Cohen’s echoing vocals and the group’s tribal drums and menacing synth lines fetched a fair response from a crowd whose lack of movement apparently belied their appreciation, based on the positive words that could be heard in the tent after Rauridh Connellan had destroyed his drum kit and lurched over the front barrier before disappearing behind the stage. Cohen is developing into an iconic Nick Cave-style frontman, and their forthcoming single Visions Arise should cement S.C.U.M’s status as the Next Big Thing; whether they can sustain the bubble is a matter for the future, and at the moment they are a band living very much in the present.
Night had fallen by the time Factory Floor took the stage, and an audience which grew steadily throughout their set showed that their artistic draw is a great deal more powerful than their media presence. Latest single Bipolar has been absent from their live performances almost since its release, and most of their set consisted of new material, although Francis Francis (their next release) got an enthusiastic reception with its screaming guitar line. Factory Floor are moving away from their obvious influences into territory which is entirely their own, and although they aren’t a band that court the spotlight, they must sooner or later be thrust inevitably into it.
Of all the lineup changes in evidence on Saturday, perhaps the most drastic was from Micron 63, who have doubled in size in the past few months to a live four-piece. Their place on the bill was a little unusual for a group who have received little media attention and who are yet to release their first single. A more obvious move would have been to give a popular group with more stage presence such as Ulterior this peak slot, and to move Micron 63 to later in the night when their pounding bass synth and flickering vocals could have made for an excellent dance set. They were a little lost on an early crowd who are still gearing up for the night, but still put in a decent show which pointed to a great deal of potential.
When Ulterior did take the stage it was towards midnight and most of those who weren’t camping had left. Their performance closed the night acrimoniously with heckling from the back of the tent, and a tense set showed the growing influence of stadium rock on the group: they seem to be taking their love of the Manic Street Preachers to new extremes with a more tuneful sound.
The first song-based act to take the ECC stage was An Experiment on a Bird Pump, who drew a fair crowd thanks to growing media attention (as well as the backing of The Horrors’ Faris Badwan). Despite delays which lasted throughout the weekend putting their set back by an hour, the Birds didn’t disappoint, and their soulful vocals and grunge instrumentation provided a good warmup for what is still to come. They’re by no means a band given to vulgar displays of power and speed, but a taut energy ran through their set and their restrained pace and musical minimalism perfectly suited their afternoon slot.
They were followed almost immediately by I Am The Arm, reduced to a three-piece after the recent departure of bassist Kane Martindale and who give performance of great intensity but one which showed the strain of the reduction. It’s particularly clear when vocalist Cyan Assiter-Clark is forced to switch from bass to guitar, and then to synthesiser, in the space of only three or four songs that, having only recently replaced their drummer, the Arm clearly need a new bassist as well. But they’re still making strides in songwriting and technical competence and the future looks bright, particularly with rumours of a release with DiscError floating about. Only time will tell.
Although ddd were set to follow, Paul Simmons (the guitarist for Ulterior, making a guest appearance in place of the absent John Kontos) had left his guitar pedals in Hackney and, rather than accept the alternatives offered, had gone to fetch them and left a hole in the programme which was filled by Futurism Vs. Passeism. Unfortunately, the phrase ‘plagued by technical problems’ has never been more appropriate: with the drum pads and microphone both playing up and the band becoming visibly frustrated, relief was sought in the New Bands tent as they struggled through their set. The technical failures would have been disappointing to any band at any time, and must be a constant danger for Futurism’s extensive electronics, but for a group playing a return show with new members and material they proved doubly crushing. Hopefully a future demonstration of the band’s developments hasn’t been ruled out.
ddd, arriving on stage a short while later after Simmons’ return, proved a blistering contrast to Fvs.P’s mystical electronic meltdown. A sharp and noisy sound attack is always guaranteed with Darryl Woollaston’s project, but Simmons’ contributions lent it, if possible, even more anger - his frantic slashing at the high end of the guitar strings were a perfect background to Woollaston’s robotically rhythmic guitar and vocals. A triumphant collaboration.
After a weird and not entirely wonderful set from No Bra, whose cult appeal I fail to understand, there was a noticeable crowding of the tent in anticipation of a performance from S.C.U.M, the band of the moment. The group arrived from an earlier performance in Norwich only shortly before taking the stage, and there had been some ill-feeling over their requests for a later slot (which were not entirely unjustified when the rest of the day’s bill was considered). Although slightly robbed of their atmosphere by being performed in full daylight, Thomas Cohen’s echoing vocals and the group’s tribal drums and menacing synth lines fetched a fair response from a crowd whose lack of movement apparently belied their appreciation, based on the positive words that could be heard in the tent after Rauridh Connellan had destroyed his drum kit and lurched over the front barrier before disappearing behind the stage. Cohen is developing into an iconic Nick Cave-style frontman, and their forthcoming single Visions Arise should cement S.C.U.M’s status as the Next Big Thing; whether they can sustain the bubble is a matter for the future, and at the moment they are a band living very much in the present.
Night had fallen by the time Factory Floor took the stage, and an audience which grew steadily throughout their set showed that their artistic draw is a great deal more powerful than their media presence. Latest single Bipolar has been absent from their live performances almost since its release, and most of their set consisted of new material, although Francis Francis (their next release) got an enthusiastic reception with its screaming guitar line. Factory Floor are moving away from their obvious influences into territory which is entirely their own, and although they aren’t a band that court the spotlight, they must sooner or later be thrust inevitably into it.
Of all the lineup changes in evidence on Saturday, perhaps the most drastic was from Micron 63, who have doubled in size in the past few months to a live four-piece. Their place on the bill was a little unusual for a group who have received little media attention and who are yet to release their first single. A more obvious move would have been to give a popular group with more stage presence such as Ulterior this peak slot, and to move Micron 63 to later in the night when their pounding bass synth and flickering vocals could have made for an excellent dance set. They were a little lost on an early crowd who are still gearing up for the night, but still put in a decent show which pointed to a great deal of potential.
When Ulterior did take the stage it was towards midnight and most of those who weren’t camping had left. Their performance closed the night acrimoniously with heckling from the back of the tent, and a tense set showed the growing influence of stadium rock on the group: they seem to be taking their love of the Manic Street Preachers to new extremes with a more tuneful sound.
Pt. 2 EXP. CIRC. SUNDAY to be posted tomorrow.; both parts and more to be published soon in an Offset edition of The New Thing fanzine.; watch.this.space.
Thursday, April 17
Exp. Circ. Tent announces line-up;;
This year Essex's Offset Festival plays host to a tent curated by the Experimental Circle Club, and the line-up has just been announced: a veritable 'Who's Who' of the best new music from London and beyond. Included on the bill are...
Ulterior
S.C.U.M // Electricity In Our Homes
Eve Black/Eve White // I Am The Arm // ddd
Futurism Vs Passeism // Factory Floor // Micron 63
**K // S.I.N.S. (tbc) // ErrorOrchestra // Cementimental
S.C.U.M // Electricity In Our Homes
Eve Black/Eve White // I Am The Arm // ddd
Futurism Vs Passeism // Factory Floor // Micron 63
**K // S.I.N.S. (tbc) // ErrorOrchestra // Cementimental
Also included are DJs from London's The Sect and UFO Club, Brighton's Where To Now?, Nottingham's Noise*, Southend Kool Kids Klub, and Madrid's The Junkettes, as well as Exp. Circ. Club sounds and visuals.
The festival takes place in Hainault Forest (30 minutes from London on the Central Line) on 30th-31st August, and features another six stages with over one hundred artists yet to be announced - including some very special main-stage headliners still under wraps - as well as sideshows, stalls, and a zoo.
The full line-up is to be announced soon, and we've also been promised even more acts in the Exp. Circ. Tent, so earballs must, as ever, be kept open. Tickets go on sale on May 1st for £35. You cannot afford not to attend.
The festival takes place in Hainault Forest (30 minutes from London on the Central Line) on 30th-31st August, and features another six stages with over one hundred artists yet to be announced - including some very special main-stage headliners still under wraps - as well as sideshows, stalls, and a zoo.
The full line-up is to be announced soon, and we've also been promised even more acts in the Exp. Circ. Tent, so earballs must, as ever, be kept open. Tickets go on sale on May 1st for £35. You cannot afford not to attend.
Thursday, February 14
Band spotlight//FACTORY FLOOR
Factory Floor are a mysterious post-punk trio from Hackney: electronic, abrasive, and fiercely original, and claiming to prize ideas over ability. They work with vintage equipment and tape loops, layered with feedback, insistent Krautrock bass lines, and ethereally harsh vocals; current single 'Bipolar' is the proud owner of an inspired combination of Kraftwerk-inspired metallic beats and ambient synthesisers, along with the obligatory Jim Morrison/Ian Curtis post-punk vocals. Speaking of Jim Morrison, the band's cover of The Doors' 'The End' is a close challenger on the original. The band are set to play a variety of East London venues in the near future, and sound like they're worth seeing; if you don't believe us, listen to their MySpace tracks.
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