DFA family members Factory Floor have a reputation for turning their disorientating body music and industrial experiments into a phenomenal live force. Next week this unmistakeable groove will be transported from the trio's isolated North London warehouse origins to the paradisiacal Mediterranean landscape of FOR Festival. We prepare for the close quarters hang out (the festival is limited to 2500 tickets), breaking the ice with a few questions about the band's aesthetic and ambitions, over a shadowy mixtape pieced together by synthesist Dominic Butler.
The Factory Floor sound you've arrived at is incredibly strong and identifiable, did you arrive there by design or accident or was it something else?
A bit of both really; I think how we apply our practice to the equipment we have give's us an overall sound, like a signature.
Was there a particular album or artist that triggered your initial fascination with electronic music?
I think as a child growing up in the 1980's it was inevitable that electronic music would seep into my creative DNA starting with a lot of the Pop music of that era. I remember hearing the Eurythmics 'Sweet Dreams' and Visage 'Fade To Grey' and being totally struck by and drawn into the sounds. I think the first album that had a profound effect was Brian Eno 'Apollo'. I was about 15 and randomly watching TV when on came 'For All Mankind'. I remember being totally mesmerised by the music and the footage together.
How much outside input did you have during the album process?
I think by this point we all were so focussed on the writing that we felt pretty saturated! So, I tended to avoid any other outside input just to try and keep a clear head, if anything I would listen to things that were a complete contrast to what we were doing.
To what extent does your live set up allow improvisation?
I think I have consciously built a set-up that is one big improvisation tool!! Its how I progress creatively and the core reason for why I do it.
I imagine the live configuration being quite volatile. What's the worst set you've ever played?
I use to run all my synths through a massive Bass rig on stage. I've had more than one show where by the first song I'd blown up the amp! I just remember seeing a big plume of smoke rising from the back of the amp head, and thinking oh shiiit!!
How much does the physical space impact a Factory Floor performance? A Croatian island oasis is not something you would normally associate with your sound, but FOR Festival could invite new possibilities?
As a band we're all pretty receptive to the spaces we are in. For me it links with fine art practice. It's just that the band are the installation!!
What hobbies fill your leisure time?
I like drawing or making things!
Having already worked with Chris & Cosey, New Order's Stephen Morris, Peter Gordon and Mark Stewart, who's left on the collaborator wish list?
I'd love to do a recording collaboration with Mica Levi or a live collaboration with Russell Haswell, could be fun!
1. Corale - Luigi & Antonio Russolo
2. Charles Cohen - I'll Let the Committee Name It
3. Green Gums - Cestoda's Labyrinth
4. Miles - Status Narcissism
5. L/F/D/M - Greyscale
6. Laurie Spiegel - Sediment
7. Hanson and Davis - Tonight (Love Will Make It Right) (Dub)
8. Cinimo Dreltub - Laughed myself to death
9. John Cage - Amores III. Trio Seven Wood Blocks, not Chinese))
10. Powell - So We Went Electric
11. Asmus Tietchens - Teilmenge
12. Cities Aviv - I WANT ALL
13. Drexciya - Take Your Mind
14. Terry Riley - Across The Lake Of The Ancient Word
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