6 Jan 2010
Shurely Drums mishtake? 

"We knew we wanted to start a band together and we really had the idea of completely ripping The Wake off, which proved to be impossible and in turn we ended up falling short of that, but kinda finding our own sound," explained the singer.


"People are just saying the outcome is sort of like Factory Records around 30 years before us. That's just how it turned out, this accident. We had these ideas and the way it all fell together was very organic. I know that Jacob and I are, or were, big synthesizer groupies. Jacob built modular systems and stuff like that, so we try to geek out on that. There’s a song called "Make You Mine" and a song "Down By the Water" where we literally set out to write a straight up 1950s song, but I think because we were such synth geeks and we couldn’t pull away. That's where it magically turned into this Factory Records thing because it still had that sort of new wave thing to it that we are fighting so hard against that we can't get away from. The Factory Records thing isn't intentional, but the '50s thing is intentional."

Oh, and Happy New Year!

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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