Factory Floor, ATP Nightmare Before Christmas

There is no audience engagement from Factory Floor. Indeed, they barely acknowledge the crowd save for a meek hand raised in appreciation at the end of this ferocious set. But this has been an hour-long aural assault.

Following on from Omar Souleyman’s Syrian carnival is a challenge but one they meet in their own unique way. Icy sheets of industrial noise shoot through Reds as the band look on emotionless framed by a retro graphic projection of what look like old carpets. In front, the band stand nearly motionless save for the whirring arms of drummer Gabriel Gurnsey. Nik Void’s look is almost as aloof as her spectral vocals. But they look the part (Tom Ford watching on in the audience would attest to that).

I’ve seen their sound described as ‘synth-noir’ but as this set builds and drills a hole in your head the colours start to seep out. Laser gun blasts of synth build on the thunderous percussion and the crowds’ heads nod and throb as one. One man who certainly knows his dance music is James Ford knows and he was down the front, fist pumping with the rest of the crowd.

Gurnsey’s is the main reason for the fist-pumping - his ferocious drumming helps to launch waves of pounding industrial dance tracks which are broken down just to be built up again to roaring crescendos. If they do follow a formula then it’s one that works perfectly – there’s not a sound out of place.

This is an uncompromising set, with songs and crowd getting more frenzied as it goes on. On a midnight on a Sunday in December I’m not generally having my face melted by brutal industrial dance music. This is glorious. My ears are still ringing now.