4 Feb 2005
New Order's Cash for Questions in Q Magazine 
As promised, the March 2005 issue (#224) contains Cash for Questions with New Order or "Dance rock's godfathers on getting electrocuted, helicopter gunships and why Nancy Dell'Olio should rap on a World In Motion remake..." as writer Ben Mitchell would have it. Questions include "Are you still drinking Pernod and Asti Spumante?", "Peter, how the fuck do you get that bass sound?" (Answer: "I'm not telling you. Fuck off."), "Stephen, you own several tanks. What's your favourite piece of military hardware?" (Answer: "the sighting system on the Apache Longbow helicopter") and "with hindsight, was changing your name to New Order a bit dodgy?" (Brief answer: "Yes").

Rob Hodges asks "Would you consider working with Factory boss Tony Wilson again? If so, on what terms?"

Bernard: "The problem that we had with Factory is that they didn't pay us the money."
Hooky: "Or account to us. We never knew how many records we sold. We still don't. No idea."
Bernard: "On a personal level and a creative level, they were great."
Hooky: "In Tony's defence, it's not like he fucked off with the money. If anyone knows who's got it, could they write in?"

Q Magazine
March 2005, issue #224
Available in all good newsagents and some rubbish ones too

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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