[DFA]

For all of the flak that they sometimes receive for catering to the cultural tourist branch of dance music, DFA have maintained a slyly singular aesthetic. Because they tend to careen amongst so many genres, this unifying thread may not be so blatant, but it’s very much present. Just look at their stable over the last few years, for example — Juan MacLean’s aggressively loopy electro or the urbane disco sheen of Holy Ghost or or Gavin Russom’s penchant for all things cosmic. Despite sharing few similarities beyond their shared intrinsic value to make you dance, you’re unlikely to associate these acts with one another. It’s curious, and the best rationale for said phenomenon is New York. Regardless of each act’s geographic origins, there’s a sense the label’s music is no better suited than for a packed Midtown club, rubbing shoulders among a split crowd of clueless mooks and those in the know, all jockeying for their desired floor space. Embodying the spirit of the biggest city in the world isn’t necessarily unique. But when you sport this embodiment as boldly as DFA, it’s certainly special. Coyly slipping into this assemblage is Factory Floor. That this single — their second for the label — arrives during a moment when their brand of post-industrial acid-sheen is très en vogue couldn’t be more opportune for the three-piece UK outfit.

“Fall Back” barrels from the gate with a staunch acid line that wriggles and assaults. It’s a crass gut-punch and the fact that it sticks around, unaltered, for much of the track’s eight-and-a-half minute runtime only further exacerbates the effect. From there they traipse the rhythm with a meandering yet propulsive drum barrage and vocals from Nik Colk Void, whom readers may recognize from Carter Tutti Void, where she has similar guitar/vocal duties alongside Chris Carter and Cosey Fanni Tutti of Throbbing Gristle. Her dead-eyed interrogation stands in contrast to the surrounding charge. In many ways, “Fall Back” resembles the group’s also-excellent 2011 effort, Two Different Ways. But whereas that track featured a rather mutable synth rush at its core, here they operate along a unilaterally succinct arch. The original stands alone for the moment, but given the label’s fondness for remixing everything, I’d feel confident in deeming those forthcoming. What they’ll sound like is obviously anyone’s guess, but envisioning where they’ll be most deserving of rub shouldn’t be too difficult to ascertain.