Factory Floor + Shit Robot + Karen Gwyer + Kara-Lis Coverdale
11 MARCH 2016
22:00 - 04:00› BUY TICKETS
Factory Floor curate a night of live analogue electronics, club jams, propulsive techno and ambient bliss. “A night of unpredictable electronic music to dance, lose yourself then rationalise its conception the day after” Nik Void, Factory Floor.
Recent shows have seen Factory Floor move into an ever-expanding electronic analogue set-up that encompasses the realms of techno, Chicago House, and noise. They stay true to their spontaneous improvised roots proving once again that a major aspect of the band's rise to notoriety is their versatility.
They seem equally at home playing alternative festivals and art galleries to nightclubs and raves; on top of that they’re as much at home collaborating with members of Throbbing Gristle and New Order (not to mention Richard H Kirk of Cabaret Voltaire, Simon Fisher Turner and Peter Gordon) as they are with contemporary visual artists such as Haroon Mirza and Hannah Sawtell. The live performance at Convergence is a special opportunity for fans to hear new material from Factory Floor's upcoming album, slated for release on DFA in the summer of 2016.
“Factory Floor are at their taut best experienced live...their songs seem to last forever, indebted to repetition; yet finish too soon - the monotony becoming a primal pulse to lose yourself in” ******** Drowned in Sound
In 2011, Marcus Lambkin introduced The Shit Robot Show, his first live Audio-Visual outing which lit up clubs and festivals the world over. He’ll be playing tracks from his third album, ‘What Follows’ - released on DFA/PIAS in April 2016. The nine-tracker features guests Alexis Taylor, Nancy Whang, New Jackson, Museum Of Love and Jay Green.
Michigan-born, London-based Karen Gwyer has spent most of her life connected to music in one form or another, spending her youth learning classical instruments and obsessing over low budget dance music shows and the Midwest noise scene. These far-reaching musical influences manifest in the music she makes which can loosely be described as a experimental techno, which she performs live on her vast collection of dusty hardware. To date, Gwyer has released a handful of recordings on Kaleidoscope, No Pain In Pop and Opal tapes. She has produced remixes for labels such as Nous, Software, Public Information, Domino, Kaleidoscope and Different Fountains Editions, and created a number of commissioned pieces for Open Music Archive.
Canadian Composer and artist Kara-Lis Coverdale has been described as “one of the most exciting young composers in North America” (The Guardian) with “omnivorous approach to sound” (The Wire). Coverdale’s music creates bridges between worlds of pop and classical; digital and acoustic; the human and the machine (Weird Canada). Her first debut album proper, Aftertouches, (Sacred Phrases, 2015) is described as “a true masterwork by a still-young artist” (Decoder Magazine) that contains “signature uncanny choirs and soloist melodies...in thrall to an aesthetic that’s beyond the horizon” (The Wire). It was named a top 10 album of 2015 by The Wire, NPR, The Quietus, Adhoc, and others.
Produced in collaboration with MUTEK, supported by the Québec government.