In our world populated with sci-fi allagories — dark hulking things, scrapping their battered metal bulk over the purple plains of twin sunned planets — we sometimes cannot help but retreat to the warm caverns of the discothèque. A place of nebulous identity, a relativistic space of individualists and solidarity. It is dark in there for a reason.
A Ballardian conflagration of the hi-tech and sexual; the sounds of electronic music so intractably bound in the aural flourishes of lasers and deep space. Booming like stars and metallic. Vast and often beautifully empty. The forces shaping those sounds, not immediately those of craft and intricacy, but something more elemental, more eternal.
Factory Floor‘s entry into this space seems drenched in the entrails of Industrial Records. A dry black birth into a space that plays so effortlessly with brutal dehumanisation and finds beauty every, single, time. The throbbing pulse to ~ (R E A L L O V E), ritualistic and mind-controlling; relentless and comforting. A heartbeat to an impossibly vast machine. Optimo (in the form of Twitch and Dave Clarke) turn the speeding pulse from a hurtling descend into a controlled glide the makes expert use of the electro-thermal currants drifting up from the haciendas below. Nik Colk’s vocal paces between the beats and beams, delivering her lines from every corner, sometimes barely heard, sometimes brushing just by your ear. The juggernaut of early electro noise barely contained as if caught by intractable tides, constantly ready to overwhelm and gorgeously relentless.
~(R E A L L O V E) (Optimo Remix) is taken from the forthcoming Optimo Music 12″ out on April 6th.
Design A Wave take another route. Far from descending from a cloud-black sky they emerge from an ice-flow; glacial, blue and pristine. Magicar is a neon-lit Fortress of Solitude, a dance party for geological processes: glacial disco.
Magicar is taken from the Snake Jam tape out soon on (our good friends) Sex is Disgusting Records. the tape itself is made up of tracks culled from a four year period (2005-2009) but manages to slip right in to these days of synth-wave obsession. This takes us back to a time when Glass Candy and Chromatics filled these dark pages with ethereal delights and for that, we are grateful.