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
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

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