30 Sep 2006
Steel sink in colour negative 
Brian Nicholson was so closely related to the revolutionary groundbreaking Factory video wing IKON that his own work was released under the title 'Show me what you look like' (IKON21).
I re-met Brian a couple of years ago when he hosted two brilliant evenings in Blackburn devoted to IKONography of Joy Division and the early years of the Hacienda. It was, and still is, my intention to bring his show back to Manchester where it belongs (strong but subtle hint).
Like a number of his Factory/Hac contemporaries, Brian is feeding his knowledge back into the next generations as a senior lecturer in digital media at Blackburn College.
In his spare time, however, Brian has set up a record label:
"The label is called Onsong, it was the brainchild of Jamie Holman (tompaulin, Sister Vanilla, The Fischers) and myself. The label has full distribution through Forte. We have used Joe Fossard as Portugese correspondent and producer/engineer at his Bleak House Studios in Blackburn.
We're releasing the first album on Oct 16 "The Fall and Rise of Vinny Peculiar" (College002). Its got Mike Joyce (ex-Smiths), Craig Gannon (ex-Aztec Camera, ex-Smiths) and Ben Knott (ex-Happy Mondays) on it.
The next album should be by the band Maupa (who I've got to say are simply stunning)"

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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

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