26 Mar 2004
The Belly of an Architect 
The following extract comes from a Les Disques du Crépuscule booklet designed by Hennebert in 1990 describing future releases on the label ("a little something for everyone").

The soundtrack [TWI 813 / Fact 195] to the Peter Greenaway film of the same name essentially combines three musical sources. First and foremost is original material from Mertens and noted American avant-gardist Glenn Branca, both of which appearing on both record and film alongside past works by Mertens especially chosen by the director. Though taken separately the music of Mertens and Branca might seem impossibly at odds, here the circular melody of the former works in perfect counterpart to the latter's harsher textures and musique concrete.

More details including an audio clip are available on www.wimmertens.be the official site. Wim Mertens would have perhaps been a suitable candidate for a release on Factory Classical but in the end his only other Factory release is Fact 190(c) Educes Me.

Slightly off-topic but this year also sees the sixtieth birthday of Michael Nyman, the noted composer (of amongst other things excellent soundtracks to Peter Greenaway films such as Drowning by Numbers and The Draughtsman's Contract).

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Biting Tongues

In the grey days of late 1970s post-punk Manchester, youth culture was a serious affair: every musical performance was measured mostly by the conviction of its delivery. The term 'New Wave' opened up free vistas where acquired skills could once again be exercised after punk's monochrome blur. It could be applied to anything from a James 'Blood' Ulmer record to the latest Throbbing Gristle release, Magazine to Swell Maps. Move outside that terrain into Sun Ra, Parliament, Frank Sinatra and Martin Denny, and your options were suddenly without limit...

Then came Tony Wilson's Factory Club (at the Russell Club in Hulme) offering an open invitation to experiment that was taken up when Ken Hollings, Howard Walmsley, Eddie Sherwood and a few others decided to make some noise to accompany their 16mm silent epic Biting Tongues. A further performance followed a few weeks later, when Colin Seddon and Graham Massey disbanded their Post Natals project and joined up. The film itself, a flashing series of negative images, became a memory; the name remained.

- extract from the LTM Biting Tongues biography

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