Various ArtistsFactory Records: Communications 1978-92Review

While not meaning to under appreciate the importance of Factory records as a worthy model of independence, Communications does seem to underline a simple fact (ha!): that Tony Wilson's bespoke cottage industry devoted to promoting the excellence of its Mancunian stable really could get it awfully wrong at times. Besides the unimpeachable jewels of say Joy Division, Cabaret Voltaire or even early James this box set contains some right old duffers. Mind you, when Anthony H and co. got it right, they REALLY got it right.

It seems hardly worth going on about the thoroughly documented, canonised and even biopic-ed Ballardian miserabalists, Joy Division. Martin Hannett's productions will always defy time. But let's face it, Curtis et al were, like Mike Oldfield with Virgin, almost the sole reason that Wilson's label became as iconic as it did. And New Order's forsquare disco tendencies floated them through the rest of the 80s. But there's plenty more here to make you believe that, at least for a spell, factory showed unwavering taste. The Durutti Column's spidery ambient guitars; A Certain Ratio's now-hipper-than-hell white boy funk; Section 25's minimal thunder; and let's not forget marvellous one-offs like...erm, Crispy Ambulance?

Factory's rather arch insistence on labelling not only their records but their venues and various multimedia offshoots with sequential catalogue numbers meant that while they traded under the banner of envelope pushing, they were also appealing in the main to a male fanbase who loved to COLLECT stuff. In truth the roster, which often, more by luck than judgement, captured some seminal acts at the earliest parts of their careers (The Fall, Cabaret Voltaire, James, OMD) could also reflect on what the label was missing out on.

While the late 80s dance 'n' pills revolution found a spiritual home in the Northern metropolis, its purveyors here now seem remarkably lumpy. We'll gloss over travesties like Northside, but even The Happy Mondays seem a little clodhopping in retrospect, despite their Ibizan roots. Factory may have had the Hacienda as their temple of clubbing, but you'll find no 808 State or the like here.

Of course, it was Wilson's 80% bull spouting ratio that made Factory more alluring than 'quieter' yet just as important labels like Rough Trade, Mute or 4AD. Northern arrogance led him to proclaim about reinventing the musical wheel at least twice a month. For this reason alone this lump of nostalgia seems somehow misplaced. But for those that were there, Communications will undoubtedly bring a lump to the throat.