13 Apr 2008
Bass (How Low Can You Go?) 
On the inside back page of Saturday's Guardian guide (only in the print edition it would seem), Peter Hook tells it how it is (and how it was):

On New Order's money - "If Tony Wilson had fucked off to Brazil and spent it on cocaine and hookers I could have understood that but the fact that he frittered it away was a bit challenging really."

On playing the bass - "My advice is: wear it low, play it high. Although, as my chiropractor keeps telling me, judging by my cracked discs and nerve trouble, I shouldn't have."

On his DJing: "I've never claimed to be a DJ, I'm a celebrity."

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Peter Saville colour wheel
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

Factory Records

The Durutti Column