11 Oct 2004
The Concept 
John Metcalfe, in the sleevenotes to his album Scorching Bay, explains the background to its recording:

"Technically the composition involved limiting the amount of thematic material and using it in each track with as little incidental music as possible. Each theme could be transposed and used in part or in its entirety but had to maintain its exact rhythm and pitch intervals without variation. What had been melody in one track could form a bassline or motor rhythm in the next. So the first track contains all new themes; by the last track there is only material that has been used several times over."

On the album, John plays violin, guitar and piano in addition to the usual viola that he plays when he guests for The Durutti Column (whose Best Of album is out today - where are the reviews?).

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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