7 Mar 2004
Peter Saville on Factory working methods in City Life 518: "New Order disagreed with each other out of principle. This was a committee that was trying to disagree. A perfect example was when I did a piece of artwork which was black and white, a label, and it could be any colour we wanted. They were there so I asked, 'what colour do you want it to be?', Bernard: 'Red', Hooky 'Blue', Steven (help me , I thought): 'I quite fancy green myself.' Fucking hell. 'Gillian, give me two votes on the colour, pleeeease,' 'I quite like yellow.' Rob Gretton: 'I don't see whats wrong with black?' End of meeting, off they go. Rob hangs back: 'Just do it, Peter.' It ended up black and white."

Read the full Peter Saville interview from the same issue of City Life. Thanks again to Conor for help.

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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