Factory Floor – 25 25 Review 

With every new release, Factory Floor seem to shed their skin and provide listeners with a new spin on dance-rooted tracks. From pure acid anthems to sizzling industrial club classics, the newly-turned duo has hopped, skipped and jumped around energetic electronica. With second album 25 25, Factory Floor have taken it back to basics, with authentic loops and diehard precision, but, seemingly in an effort to push their diversity, have gone too far.

Factory Floor’s ‘bare minimum’ approach is ostensibly a slap in the face for the over-compensating layers of tech used in modern dance pop. The majority of tracks are given life through looped basslines and hooks, buoyed by the addition of either gloopy robotic or off-pitch vocals by Colk, plus unharmed hi-hats throughout. Whether it’s simply toe-tapping or a dancefloor invitation, the beat is relentless. There is barely time to come up for air before one unyielding bassline swims into the next. Though this makes it a fantastic album for a spinning class instructor, the tracklist isn’t one for a simplistic, everyday listen. The necessities the twosome thought of clearly didn’t include verses or choruses, as there is the odd intersperse of spat lyrics here and there, but nothing of substance. Also, while the album is a snappy eight tracks long, the songs are extremely lengthy; both Meet Me At The End and Wave comfortably surpass the eight-minute mark, with Slow Listen and Ya hot on their tails. This, alongside the monotonous basslines that drive each track, does make the album somewhat dreary. Even Colk’s insistent vocal loop seems tired towards the conclusion of Slow Listen.

Though the album is centred around modern dance hits, there are clear influences from days of clubbing past. The deep mechanical vocals, most prolific in Ya, scream Kraftwerk, whilst the thumping hook of Wave snapshots the nineties. Yet, a lot of this tracklist is individual to them. Relay keeps to the looped hooks, basslines and percussion checklist, with bursts of “oh’s” uncomfortably clashing, as if to mock their own genre, similar to Slow Listen’s off-beat vocals. What’s most interesting about this album is its little quirks. There are noteworthy differences every now and again: eponymous track 25 25 is driven mostly by the bassline with the hi-hats this time being an add-on feature. Additionally, Dial Me In has impressive robotic harmonising and a more acidic hook reflective of earlier numbers. However, even with such sound meticulousness, and a captivating diversity, it just seems to drag. A lot.

25 25 is an ideal party playlist addition, and I’m sure many DJs would be keen to include Factory Floor’s persistent punchy tracks in their sets. Saying that, this one can only be taken in small doses, before it gets too wearisome, and one song melts into the next.

Factory Floor: 25 25 – 5/10

By Eleanor Chivers

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