28 Dec 2008
From the 'Because I Say So' Files 
We have a winner! As we reach the tail end of 2008, a late entry sneaks in just under the wire for this year's running of our Most Gratuitous Reference to Factory Records stakes.

And now, not by a nose, but by a mile... a Factory Records-related namecheck that is so far past gratuitous (and just downright weird) that it sails right into egregious. Ladies and gentleman, we give you "one of the most renowned video artists of her generation", Annika Larsson.

From the press release for her new video Dolls: "Painted on the ground and the walls, lines and symbols are borrowed from Suprematism or Futurism as well as from signs that are used to teach humanoid robots how to find their way and execute some tasks in a given space. The three lines on the wall are thus taken from a New Order album cover by Peter Saville, itself inspired by the cover of an issue of the Futurist journal by Fortunato Depero."

THUS?!? (I know I always think of New Order when I think of teaching humanoid robots how to find their way.)

OK, maybe we'll let her have her reference to Movement, even if the lines have no proportional, spatial or colour relationship to said artwork. What we won't let her get away with is the fact that she can't count. There are FOUR horizontal lines on the cover of Movement, not three. (The "borrowing" part is more Saville than her execution. How appropriate.) Let's hope she only gets paid 3/4 for her work.

Video trailers here and here.

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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