24 Mar 2004
Systems of Romance 
The Shareholders' Analysis continues with Fac 3: Second Factory poster: CV, JD, & TB's [Tiller Boys]. White on Black, simultaneous to Systems of Romance cover [?]; 250; October '79, all put up, One gig.

In this interview with Rick Poynor published in Eye 17/95, Peter Saville expands on the influences for Fac 3 including the 'Systems of Romance' reference:

[Rick Poynor] At what stage did you become aware of post-modernism as a cultural idea?

[Peter Saville] In 1978, while working on the second Factory poster. On a trip to London I picked up a book of Philip Johnson's proposals for the AT&T building in New York. On the cover was the broken pediment. It made me think that maybe I wasn't wrong in wanting to use Tschichoid's later work - that and a John Foxx album cover for Ultravox [Systems of Romance] with serif type on a black background. Within 12 months, neo-classicism and the influence of architectural post-modernism were everywhere. People in New York were buying columns to put in their apartments. My contribution was the graphic equivalent. It was always an emotive feeling and after a year or so I began to trust in my senses. I didn't need to wait for supportive signals and became brave enough to take a step myself, but nearly always informed by some historical reference.

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Peter Saville colour wheel
A Certain Ratio

"Manchester, 1978. In the beginning there were four: Jez Kerr (bass), Martin Moscrop (guitar/trumpet), Peter Terrel (guitar/effects) and Simon Topping (vocals/trumpet). Four thin boys with a name borrowed from a Brian Eno record, the intense, drummerless quartet initially drew influence from Wire, Eno, the Velvets and Kraftwerk, and gained a manager in Anthony Wilson of Factory Records.

"May 1979 saw the release of their first ACR single, the dark All Night Party, although the sound and musicianship of the band would be transformed by the arrival of funky drummer Donald Johnson (DoJo) in August. Over the next few months the band gigged widely, often with Joy Division as part of Factory packages, and recorded demos with producer Martin Hannett as well as a Peel session. Their support slot with Talking Heads on their UK tour in December 1979 set David Byrne on a new course, and provided the compelling live half of their chic cassette package The Graveyard and the Ballroom. Post-punk, ACR now reflected the influence of Funkadelic, George Clinton, Bootsy Collins, The Bar Kays and James Brown."

- intro to ACR Biography by James Nice (LTM)

The Durutti Column