Factory Floor – Fall Back

Now I just want to hear an actual 12-inch dub mix of this.

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[6.00]Daniel Montesinos-Donaghy: Over a bout of kitchen-sink percussion, sultry (or drunken, you decide) mumbling soundtracks a bubbling synthline attempting to wriggle its way inside its own fluctuating pulse, never staying still for one second. A high-pitched squeal pops up momentarily, a little like a heart monitor beep, startling you – then the song doesn’t take the initiative to grow tenser or go anywhere. It merely mumbles on, happy with its wriggle room
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Alfred Soto: Sequencers that Bernard Sumner could have built himself in 1981 oscillate with a mysterioso femme overlay. At half the length it might have been Saturday night.
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Jer Fairall: Their name + the music is a witty tip off as to exactly which Factory they’re on the floor of, but the unvarying execution of particular stun-gun sputter is ultimately anti-climactic, the transformation we spend eight minutes waiting for never actually occurring.
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Scott Mildenhall: Were this adapted into something more like a conventional song, as opposed to the 12″ dub mix it currently resembles, it could be incredible. As it is, it’s merely good. A lot of the time, succinctness and clarity are the optimum.
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Anthony Easton: I like when my dance music sounds like disaffected robots fucking towards some kind of technophilic revolution.
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Will Adams: As each minute ticked by, the questions in my head progressed from “What will happen next?” to “Is anything going to happen next?” to “Why am I still listening to this?” to “When is this going to end?”
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Brad Shoup: I’m curious to hear if our younger writers have an opinion regarding the brief reign of DFA’s antiseptic mutant disco. Can’t say I was nuts about it, especially the brightly-beamed vocals. Also, the chord progressions were naff. Here, the sixteenth notes bring back that old eye-roll, at least until the six-minute mark, when some of ’em get fired. A minute later, everything quiets, and begins to sound like a dribbling exhibition – which is great. And Nik Void’s vocals are a latching point throughout. They pack that guile, that husky shutdown. I imagine this is what that Knife single sounded to righter-thinking people.
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