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Factory Records
Factory Records
Factory Records
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Factory Records was a Manchester-based British independent record label founded in 1978 by Tony Wilson and Alan Erasmus.

Key Information

The label featured several important acts on its roster, including Joy Division, New Order, A Certain Ratio, the Durutti Column, Happy Mondays, Northside, and (briefly) Orchestral Manoeuvres in the Dark and James. Factory also ran The Haçienda nightclub, in partnership with New Order.

Factory Records used a creative team (most notably record producer Martin Hannett and graphic designer Peter Saville) which gave the label and the artists recording for it a particular sound and image. The label employed a unique cataloguing system that gave a number not just to its musical releases, but also to various other related miscellany, including artwork, films, living beings, and even Wilson's own coffin.[1]

History

[edit]

'The Factory'

[edit]

The Factory name was first used for a club in May 1978; the first Factory night was on the 26 May 1978.[2] The club became a Manchester legend in its own right, being known variously as the Russell Club, Caribbean Club, PSV (Public Service Vehicles) Club (so titled as it was originally a social club for bus drivers[3] who worked from the nearby depot) and 'The Factory'.[4] The 'Factory' night at The Russell Club was launched by Alan Erasmus, Tony Wilson, and helped by promoter Alan Wise. As well as attracting numerous touring bands to the area and many upcoming post punk bands,[4] it featured local bands including the Durutti Column (managed at the time by Erasmus and Wilson), Cabaret Voltaire from Sheffield and Joy Division.[5] The club was demolished in 2001.[6] The club was located on the NE corner of the now demolished Hulme Crescents development,[7] on the corner of Royce Rd and Clayburn St (53°28′04.5″N 2°15′00.2″W / 53.467917°N 2.250056°W / 53.467917; -2.250056). Peter Saville designed advertising for the club, and in September Factory released an EP of music by acts who had played at the club (the Durutti Column, Joy Division, Cabaret Voltaire and comedian John Dowie) called A Factory Sample.[8]

1978 and 1979

[edit]

As a follow-on from the successful 'Factory Nights' held at the Russell Club, Factory Records made their first release, A Factory Sample, in January 1979.[5][9] At that time there was a punk label in Manchester called Rabid Records, run by Tosh Ryan and Martin Hannett. It had several successful acts, including Slaughter & the Dogs (whose tour manager was Rob Gretton), John Cooper Clarke, and Jilted John. After his seminal TV series So It Goes, Tony Wilson was interested in the way Rabid Records ran, and was convinced that the real money and power were in album sales. With a lot of discussion, Tony Wilson, Rob Gretton and Alan Erasmus set up Factory Records, with Martin Hannett from Rabid.[10]

In 1978, Wilson compered the new wave afternoon at Deeply Vale Festival. This was actually the fourth live appearance by the fledgling Durutti Column and that afternoon Wilson also introduced an appearance (very early in their career) by the Fall, featuring Mark E. Smith and Marc "Lard" Riley on bass guitar.[11]

The first Factory Records office, 86 Palatine Road in West Didsbury, Manchester.

The Factory label set up an office in Erasmus' home on the first floor of 86 Palatine Road (53°25′38.0″N 2°14′06.2″W / 53.427222°N 2.235056°W / 53.427222; -2.235056), and the Factory Sample EP was released on 24 December 1978. Singles followed by A Certain Ratio (who would stay with the label) and Orchestral Manoeuvres in the Dark (who left for Virgin Records shortly afterwards). The first Factory LP, Joy Division's Unknown Pleasures, was released in June 1979.[12]

1980s

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In January 1980, The Return of the Durutti Column was released, the first in a long series of releases by guitarist Vini Reilly. In May, Joy Division singer Ian Curtis committed suicide shortly before a planned tour of the US. The following month saw Joy Division's single "Love Will Tear Us Apart" reach the UK top twenty, and their second album Closer was released the following month. In late 1980, the remaining members of Joy Division decided to continue as New Order. Factory branched out, with Factory Benelux being run as an independent label in conjunction with Les Disques du Crepuscule, and Factory US organising distribution for the UK label's releases in America.[13]

In 1981, Factory and New Order opened a nightclub and preparations were made to convert a Victorian textile factory near the centre of Manchester, which had lately seen service as a motor boat showroom. Hannett left the label, as he had wanted to open a recording studio instead, and subsequently sued for unpaid royalties (the case was settled out of court in 1984). Saville also quit as a partner due to problems with payments, although he continued to work for Factory. Wilson, Erasmus and Gretton formed Factory Communications Ltd.[14]

The Haçienda's interior before opening

The Haçienda (FAC 51) opened in May 1982.[15][16] Although successful in terms of attendance, and attracting a lot of praise for Ben Kelly's interior design, the club lost large amounts of money in its first few years due largely to the low prices charged for entrance and at the bar, which was markedly cheaper than nearby pubs. Adjusting bar prices failed to help matters as crowds were increasingly preferring ecstasy to alcohol by the mid-1980s. Therefore, the Haçienda ended up costing tens of thousands of pounds every month.[9]

In 1983, New Order's "Blue Monday" (FAC 73) became an international chart hit.[17] However, the label did not make any money from it since the original sleeve, die-cut and designed to look like a floppy disk, was so costly to make that the label lost £0.05 (equivalent to £0.21 in 2023) on every copy they sold.[14][18] Saville noted that nobody at Factory expected "Blue Monday" to be a commercially successful record at all, so nobody expected the cost to be an issue.[19]

Happy Mondays released their first album in 1985. New Order and Happy Mondays became the most successful bands on the label, bankrolling a host of other projects.[14] Factory and the Haçienda became a cultural hub of the emerging techno and acid house genres and their amalgamation with post-punk guitar music (the "Madchester" scene). Mick Middles' book Joy Division to New Order published in 1986 by Virgin Books (later being reprinted under the title Factory). In 1989, the label extended its reach to fringe punk folk outfit To Hell With Burgundy. Factory also opened a bar (The Dry Bar, FAC 201) and a shop (The Area, FAC 281) in the Northern Quarter of Manchester.[13]

1990s

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Factory's headquarters (FAC 251) on Charles Street, near the Oxford Road BBC building, were opened in September 1990; prior to this, the company was still registered at Alan Erasmus' flat in Didsbury.[citation needed]

In 1991, Factory suffered two tragedies: the deaths of Martin Hannett and Dave Rowbotham. Hannett had recently re-established a relationship with the label, working with Happy Mondays, and tributes including a compilation album and a festival were organised. Rowbotham was one of the first musicians signed by the label; he was an original member of the Durutti Column and shared the guitar role with Vini Reilly; he was murdered and his body was found in his flat in Burnage.[20] Saville's association with Factory was now reduced to simply designing for New Order and their solo projects (the band itself was in suspension, with various members recording as Electronic, Revenge and the Other Two).

By 1992, the label's two most successful bands caused the label serious financial trouble. The Happy Mondays were recording their troubled fourth album Yes Please! in Barbados, and New Order reportedly spent £400,000 on recording their comeback album Republic. London Records were interested in taking over Factory but the deal fell through when it emerged that, due to Factory's early practice of eschewing contracts, New Order rather than the label owned New Order's back catalogue.[9]

Factory Communications Ltd, the company formed in 1981, declared bankruptcy in November 1992. Many former Factory acts, including New Order, found a new home at London Records.[9]

The new Haçienda apartments in 2007

The Haçienda closed in 1997 and the building was demolished shortly afterwards. It was replaced by a modern luxury apartment block in 2003, also called The Haçienda.[21] In October 2009, Peter Hook published his book on his time as co-owner of the Haçienda, How Not to Run a Club, and in 2010 he had six bass guitars made using wood from the Haçienda's dancefloor.[22][23][24]

2000s

[edit]
The top of Wilson's gravestone, designed by Peter Saville and Ben Kelly.

The 2002 film 24 Hour Party People is centred on Factory Records, the Haçienda, and the infamous, often unsubstantiated anecdotes and stories surrounding them. Many of the people associated with Factory, including Tony Wilson, have minor parts; the central character, based on Wilson, is played by actor and comedian Steve Coogan.[25]

Anthony Wilson, Factory Records' founder, died on 10 August 2007 at age 57, from complications arising from renal cancer.[26]

Colin Sharp, the Durutti Column singer during 1978 who took part in the A Factory Sample EP, died on 7 September 2009, after suffering a brain haemorrhage. Although his involvement with Factory was brief, Sharp was an associate for a short while of Martin Hannett and wrote a book called Who Killed Martin Hannett,[27] which upset Hannett's surviving relatives, who stated the book included numerous untruths and fiction. Only months after Sharp's death, Larry Cassidy, Section 25's bassist and singer, died of unknown causes, on 27 February 2010.[28]

In early 2010, Peter Hook, in collaboration with the Haçienda's original interior designer Ben Kelly and British audio specialists Funktion-One, renovated and reopened FAC 251 (the former Factory Records headquarters on Charles Street) as a nightclub.[5] The club still holds its original name, FAC 251, but people refer to it as "Factory". Despite Ben Kelly's design influences, Peter Hook insists, "It's not the Haçienda for fucks [sic] sake". The club has a weekly agenda, featuring DJs and live bands of various genres.[5]

In May 2010, James Nice, owner of LTM Recordings, published the book Shadowplayers. The book charts the rise and fall of Factory and offers detailed accounts and information about many key figures involved with the label.[29]

FAC numbers

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See also: Factory Records discography

Musical releases, and essentially anything closely associated with the label, were given a catalogue number in the form of either FAC, or FACT, followed by a number. FACT was reserved for full-length albums, while FAC was used for both single song releases and many other Factory "productions", including: posters (FAC 1 advertised a club night), The Haçienda (FAC 51), a lawsuit filed against Factory Records by Martin Hannett (FAC 61),[30] a hairdressing salon (FAC 98), a broadcast of Channel 4's The Tube TV series (FAC 104), customised packing tape (FAC 136), a bucket on a restored watermill (FAC 148), the Haçienda cat (FAC 191), a bet between Wilson and Gretton (FAC 253),[31] a radio advertisement (FAC 294), and a website (FAC 421).[32] Similar numbering was used for compact disc media releases (FACD), CD Video releases (FACDV), Factory Benelux releases (FAC BN or FBN), Factory US releases (FACTUS), and Gap Records Australia releases (FACOZ), with many available numbers restricted to record releases and other directly artist-related content.[33][13]

Numbers were not allocated in strict chronological order; numbers for Joy Division and New Order releases generally ended in 3, 5, or 0 (with most Joy Division and New Order albums featuring multiples of 25), A Certain Ratio and Happy Mondays in 2, and the Durutti Column in 4. Factory Classical releases were 226, 236 and so on.[33][13]

Despite the demise of Factory Records in 1992, the catalogue was still active. Additions included the 24 Hour Party People film (FAC 401), its website (FAC 433) and DVD release (FACDVD 424), and a book, Factory Records: The Complete Graphic Album (FAC 461).[33][13]

Even Tony Wilson's coffin received a Factory catalogue number; FAC 501.[34][13]

Factory Classical

[edit]

In 1989, Factory Classical was launched with five albums by composer Steve Martland, the Kreisler String Orchestra, the Duke String Quartet (which included Durutti Column viola player John Metcalfe), oboe player Robin Williams and pianist Rolf Hind. Composers included Martland, Benjamin Britten, Paul Hindemith, Francis Poulenc, Dmitri Shostakovich, Michael Tippett, György Ligeti and Elliott Carter. Releases continued until 1992, including albums by Graham Fitkin, vocal duo Red Byrd, a recording of Erik Satie's Socrate, Piers Adams playing Handel's Recorder Sonatas, Walter Hus and further recordings both of Martland's compositions and of the composer playing Mozart.

Successor labels

[edit]

In 1994, Wilson attempted to revive Factory Records, in collaboration with London Records, as "Factory Too". The first release was by Factory stalwarts the Durutti Column; the other main acts on the label were Hopper and Space Monkeys, and the label gave a UK release to the first album by Stephin Merritt's side project the 6ths, Wasps' Nests. A further release ensued: a compilation EP featuring previously unsigned Manchester acts East West Coast, the Orch, Italian Love Party, and K-Track. This collection of 8 tracks (2 per band) was simply entitled A Factory Sample Too (FACD2.02). The label was active until the late 1990s, latterly independent of London Records, as was "Factory Once", which organised reissues of Factory material.[13]

Wilson founded a short-lived fourth incarnation, F4 Records, in the early 2000s.[35]

In 2012, Peter Saville and James Nice formed a new company called Factory Records Ltd., in association with Alan Erasmus and Oliver Wilson (son of Tony). This released only a vinyl reissue of From the Hip by Section 25.[36] Nice subsequently revived the Factory Benelux imprint for Factory reissues, and for new recordings by Factory-associated bands.[37] In 2019, Warner Music Group marked the 40th anniversary of Factory as a record label with a website, exhibition, and select vinyl editions including Unknown Pleasures and box set compilation Communications 1978-1992.

Factory Records recording artists

[edit]

The bands with the most numerous releases on Factory Records include Joy Division/New Order, Happy Mondays, Durutti Column and A Certain Ratio. Each of these bands has between 15 and 30 FAC numbers attributed to their releases.

Retrospective

[edit]

An exhibition By Colin Gibbins took place celebrating the 20th anniversary of the closing of Factory Records (1978–1992) and its musical output, Colin's collection was displayed at the Ice Plant, Manchester, between 4 and 7 May 2012. The exhibition was called FACTVM (from the Latin for 'deed accomplished').[38][39]

In October 2019, a new box set was released containing both rarities and the label’s releases from its first two years.[40]

From 19 June 2021 until 3 January 2022, Manchester's Science and Industry Museum hosted an exhibition commemorating Factory Records entitled 'Use Hearing Protection: The early years of Factory Records' Featuring graphic designs by Peter Saville, previously unseen items from the Factory archives, and objects loaned from the estates of both Tony Wilson and Rob Gretton, the former manager of Joy Division and New Order.[41][42]

Further reading

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References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Factory Records

View on Grokipedia
from Grokipedia
Factory Records was an influential based in , , founded in late 1978 by television presenter and music manager Alan Erasmus. The label emerged from the post-punk scene, initially funded by Wilson's £5,000 inheritance from his mother, and began operations with a focus on local talent and experimental music distribution. Its first release, FAC 1, was a poster designed by graphic artist Peter Saville, setting a precedent for the label's emphasis on artistic packaging over commercial conventions. Factory Records quickly became synonymous with Manchester's vibrant music culture, signing pivotal acts such as in 1978, which evolved into New Order following the death of singer . Other notable artists included , Cabaret Voltaire, and later , contributing to the label's role in shaping the , new wave, and genres. The label pioneered unconventional business practices, including 50/50 profit-sharing agreements that granted artists full ownership of their masters and innovative designs like silver-dyed rice paper sleeves for releases. In 1982, Factory expanded into nightlife by co-launching nightclub with New Order, which became a global icon of culture despite its eventual financial burdens. Despite its cultural impact, Factory Records faced mounting debts from The Haçienda's operational losses and the label's non-traditional financial model, leading to its bankruptcy and closure in 1992. The company's catalog was subsequently acquired by London Records, preserving its releases while underscoring Wilson's philosophy of prioritizing art and community over profit. Factory's legacy endures as a cornerstone of , influencing DIY labels worldwide and cementing Manchester's status as a creative hub.

Founding and Early History

Origins in 'The Factory' Club

The Factory nightclub emerged in in May 1978 as a pivotal venue for the city's burgeoning and scene, founded by and Alan Erasmus. The name "Factory" was suggested by Alan Erasmus after he saw a reading "Factory for Sale" while driving, and the club was established at the Russell Club in , transforming the space into a hub for performances, art installations, and DJ sets that challenged conventional . Wilson, an established Granada Television presenter known for his music program So It Goes, and Erasmus, an actor and musician, aimed to create a platform that prioritized cultural innovation over commercial gain, reflecting 's industrial grit and creative rebellion. Wilson's television role had already positioned him as a key promoter of the local punk movement, where he showcased emerging bands like the on So It Goes, helping to ignite Manchester's punk explosion and connect it to broader national audiences. This exposure fostered a vibrant ecosystem for underground acts, with club serving as a natural extension of Wilson's efforts to nurture the scene's raw energy and DIY ethos, drawing in performers and audiences eager for unfiltered artistic expression. The club's early nights, starting around May 19, featured eclectic lineups that blended noise, , and improvisation, cultivating an atmosphere of communal experimentation amid the venue's dimly lit, warehouse-like interior. A landmark moment came in June 1978 when headlined one of the club's initial events, marking their debut performance at the venue and underscoring its role in spotlighting Manchester's nascent talents. This gig exemplified the club's influence, providing a stage for bands to refine their sound in front of receptive crowds and solidifying the Factory's reputation as a breeding ground for innovative music. The transition toward a wider cultural initiative began with the involvement of designer Peter Saville, who created the promotional poster for the opening nights after being tipped off by manager Richard Boon; this artwork, retrospectively cataloged as FAC 1, hinted at an emerging system for documenting the project's outputs. Through such collaborations, the club evolved from a mere nightlife spot into the foundational element of a multifaceted enterprise.

Launch and Initial Releases (1978–1979)

Factory Records was formally established in late 1978 by , a prominent Granada known for his music show So It Goes, and Alan Erasmus, an actor and music enthusiast, as an based in , . Martin , an experienced producer, joined as a partner and in-house producer, contributing his distinctive echo-laden sound that became synonymous with the label's output. Emerging directly from the Factory club nights—which Wilson and Erasmus had initiated earlier that year at the Russell Club in to showcase emerging local talent—the label aimed to capture and amplify the energy of the scene without the constraints of major industry players. The label's inaugural musical release, the double 7-inch EP A Factory Sample (FAC 2), arrived in January 1979 and served as a manifesto for Factory's vision. Featuring contributions from Joy Division ("Digital" and "Glass"), The Durutti Column ("No Communication" and "Thin Ice (Detail)"), John Dowie (a comedy track), and Cabaret Voltaire ("Baader Meinhof" and "Sex in Secret"), the EP was recorded at Cargo Studios in Manchester and produced by Hannett, who emphasized atmospheric space and raw intensity in the recordings. Pressed in a limited run of 5,000 copies, its sleeve—designed by Peter Saville using translucent rice paper encased in a plastic bag—prioritized artistic innovation over standard packaging, setting a precedent for the label's aesthetic. This sampler played a pivotal role in the post-punk movement, introducing Joy Division's brooding sound to a wider audience and earning acclaim for its eclectic, forward-thinking curation that blended punk, industrial, and spoken word elements. In May 1979, Factory followed with A Certain Ratio's debut EP All Night Party (FAC 5), a 7-inch single produced by Hannett that fused rhythms, angular guitars, and dub influences into a hypnotic groove. The release included "All Night Party" and "The Thin Boys," capturing the band's live energy from their Factory club performances; only 1,000 copies were pressed on deliberately low-fidelity vinyl, accompanied by a declaring it a "limited edition on poor quality vinyl" to embrace punk's anti-perfectionist spirit. Though initial distribution was hampered by the label's independent status—relying on mail-order and select shops—the EP built a dedicated following and exemplified Factory's commitment to nurturing Manchester's experimental acts. Cabaret Voltaire's involvement in further highlighted the label's early ties to industrial pioneers, with their abrasive tracks foreshadowing the genre's evolution. From the outset, Factory operated on a radical that rejected traditional industry norms, forgoing formal s in favor of a "non-contract contract" that ensured artists retained of their masters. Profits were split 50/50 between the label and artists after recouping costs, a structure Wilson championed to prioritize creative freedom over exploitation, though it created logistical hurdles in distribution and funding without major backing. This anti-commercial ethos, rooted in punk's DIY principles, positioned Factory as a haven for boundary-pushing music, even as early releases like A Factory Sample and All Night Party achieved modest sales but significant cultural impact within underground circles.

Growth in the 1980s

Key Artists and Successes

Factory Records signed in late 1978, marking one of the label's earliest major commitments to a act with raw intensity and innovative production. Their debut album, (FAC 10), released in June 1979 and produced by , achieved modest initial sales of around 10,000 copies but garnered critical acclaim for its atmospheric sound and Peter Saville's iconic sleeve design. The follow-up, Closer (FAC 25), arrived in July 1980, shortly after frontman Curtis's suicide in May of that year, which profoundly impacted the band's trajectory and elevated their mythic status in music history. Curtis's death not only halted 's live performances but also amplified the emotional resonance of their work, with Closer selling over 250,000 copies worldwide by 1982 and cementing the group's influence on alternative music. Following Curtis's passing, the surviving members reformed as New Order in the summer of 1980, shifting Factory's sound toward electronic and dance influences inspired by New York club scenes. Their breakthrough single, Blue Monday (FAC 73), released in March 1983, became a global phenomenon despite its elaborate die-cut sleeve causing production losses; it sold over 1.16 million copies in the UK alone, making it the best-selling 12-inch single of all time. New Order's evolution peaked commercially with Technique (FAC 250), released in January 1989, which topped the —their first No. 1—and featured acid house elements, selling more than a million copies combined in the UK and . This success was bolstered by international distribution deals, including a 1983 partnership with Quincy Jones's for , expanding Factory's reach beyond the UK indie scene. Other pivotal acts contributed to Factory's 1980s roster, with delivering early funk-infused through albums like (1981) and (1982), which explored Latin and dance rhythms and influenced later electronic acts. Factory also nurtured experimental acts like , whose guitar-led ambient works such as LC (1981) exemplified the label's avant-garde ethos, and Cabaret Voltaire, whose industrial electronic albums like (1980) expanded the roster's sonic diversity. Happy Mondays, signed in the mid-1980s as associates of New Order, built momentum with chaotic live shows and releases leading to their 1990 breakthrough (FAC 329), which peaked at No. 4 on the and achieved platinum status with over 300,000 UK sales, embodying the hedonistic baggy sound. The Haçienda nightclub, opened by Factory in May 1982 (FAC 51), played a crucial role in artist promotion and the emergence of the scene by the late 1980s, hosting rave nights that fused punk roots with and drew crowds of up to 2,000, fostering a cultural hub for label acts amid Manchester's evolving music landscape. These developments underscored Factory's commercial zenith in the mid-1980s, with New Order's chart hits like Blue Monday reaching No. 12 in the UK (1983 release) and international licensing amplifying the label's global profile before financial strains emerged.

Innovations in Business and Design

Factory Records distinguished itself through groundbreaking approaches to visual design and business operations, prioritizing artistic expression over conventional commercial practices. As art director, Peter Saville crafted iconic album sleeves that elevated packaging to an integral part of the label's cultural output. For Joy Division's Unknown Pleasures (FAC 10, 1979), Saville employed a stark black-and-white image of radio waves from the pulsar CP 1919, resembling a tombstone or abstract waveform, sourced from an astronomical atlas to evoke themes of isolation and cosmic vastness. Similarly, New Order's Power, Corruption & Lies (FAC 24, 1983) featured a reproduction of Henri Fantin-Latour's 19th-century painting A Basket of Roses, paired with a reverse-side color code wheel inspired by French color printing guides, symbolizing the album's exploration of societal themes while innovating in graphic reproduction techniques. These designs often utilized experimental printing methods, such as thermographic embossing on early releases like Electricity (FAC 6, 1978), creating tactile, braille-like textures that challenged the era's standard glossy sleeves. The label's anti-corporate philosophy further underscored its innovative ethos, rejecting traditional industry hierarchies in favor of collaborative equity. Founded by and Alan Erasmus, Factory operated without formal written contracts, relying instead on verbal agreements and a "gentleman's handshake" model that emphasized trust among partners. Profits were shared equally—typically 50-50 splits—among artists, the label, and key collaborators like producer , positioning Factory as a template for independent labels by ensuring creators retained ownership of their masters. This approach, famously sealed in Wilson's blood on Joy Division's initial agreement, embodied a punk-inspired rejection of exploitative major-label deals, fostering an environment where artistic control trumped financial maximization. Factory extended its creative numbering system, the FAC catalogue, beyond music to encompass merchandise and ephemera, blurring lines between , product, and promotion. Every item, from records to club artifacts, received a unique FAC designation, treating non-musical outputs as equally significant cultural artifacts. For instance, posters and flyers for nightclub (FAC 51, opened 1982) were catalogued alongside releases, such as promotional materials featuring bold, minimalist graphics that reinforced the venue's industrial aesthetic. This system also applied to clothing and other branded items, like T-shirts and bags, which carried FAC numbers to maintain a cohesive visual identity and commodify the label's ethos without diluting its artistic integrity. Technological experimentation in production marked another pillar of Factory's innovations, particularly through Hannett's work at in . As the label's in-house producer, Hannett pioneered electronic sound manipulation, integrating early digital effects like the AMS DMX 15-80 delay unit to create expansive, reverberant drum sounds on tracks such as "Digital." His techniques embraced sampling precursors, using synthesizers like the ARP Omni-2 and Synare drum pads processed through fuzz boxes for metallic, industrial textures, as heard in "Atrocity Exhibition." Sessions at , often extending into all-night mixes, incorporated unconventional spaces for natural reverb—such as stairwells for echoes—while layering icy synthesizers and effected vocals to define post-punk's sonic landscape. Hannett's vision even extended to advocating for a sampler for advanced electronic production, but financial constraints prevented its purchase. These practices profoundly influenced independent label , establishing a model where superseded commerce and design became synonymous with identity. Factory's emphasis on high-cost, conceptual sleeves and equitable structures inspired subsequent indies like and Rough Trade, promoting a DIY of die-cut , overlaid , and regional symbolism that permeated 1980s and beyond. By cataloguing everything from records to club nights under the FAC banner, the label cultivated a status, transforming into a global hub for innovative music culture and proving that anti-corporate ideals could yield enduring impact.

Challenges and Closure in the 1990s

Expansion to Factory Classical

In 1989, Factory Records expanded into classical music with the launch of its sub-label Factory Classical, spearheaded by co-founder in partnership with John Metcalfe, a violinist and violist in the Factory-signed band . The initiative aimed to apply Factory's punk-inspired ethos of artistic freedom and innovative design to contemporary classical recordings, allowing musicians control over repertoire, production, and packaging while emphasizing 20th-century works, including at least one British composition per release. This move reflected Wilson's broader vision for interdisciplinary art that blurred boundaries between experimentation and classical traditions, drawing on Manchester's rich cultural heritage as home to institutions like the Royal Northern College of Music. Factory Classical's roster featured experimental contemporary composers and ensembles, such as Steve Martland, whose debut album Steve Martland (FACD 266, 1989) incorporated rhythmic intensity akin to energy; and Graham Fitkin, debuting with Flak (FACD 346, 1990), blending acoustic and electronic elements. Other key releases included the debut sampler Factory Classical (FACT 226, 1989), featuring the Kreisler String Orchestra performing works by Britten, Shostakovich, and Martland's Drill, alongside recordings by oboist (FACT 236, 1989) and the Duke String Quartet (FACT 246, 1990). The label's ties to Factory's rock roots were evident in Metcalfe's involvement, which facilitated orchestral integrations in projects like The Durutti Column's evolving sound, though releases remained firmly rooted in classical forms. The sub-label ultimately released 14 albums before Factory's closure. The sub-label received mixed critical reception upon launch, praised for its bold indie approach to classical music—eschewing stuffy traditions for vibrant, musician-led presentations—but it achieved limited commercial success. highlighted its potential to democratize the genre, noting in a 1989 interview that it could pioneer "the pop look" for classical sleeves and attract younger audiences to works by composers like Martland, though the venture ultimately underscored the challenges of diversifying an indie label into niche markets.

Financial Decline and Bankruptcy

By the late 1980s, Factory Records faced escalating financial pressures, primarily from the mounting losses at its flagship venue, nightclub. Opened in 1982 as a cultural hub, the club became synonymous with Manchester's rave scene but was plagued by rampant drug use and gang violence, which deterred paying customers and led to operational chaos. By 1991, these issues had resulted in losses exceeding £1 million for the club alone, with total subsidies from New Order reaching between £6 million and £9 million over its lifespan, including £7,000 monthly injections in its final years. Poor management of artist advances compounded the strain, particularly with the , whose recording of their 1992 album Yes Please! in ballooned from an initial £150,000 budget to over £250,000 due to the band's drug-fueled excesses, including the discovery of , further draining the label's resources. Overexpansion exacerbated these problems, as Factory invested heavily in non-core assets during its 1980s peak. The label poured funds into property acquisitions, such as a lavish Ben Kelly-designed building that lost value amid a market crash, and unprofitable ventures like the Dry bar in Manchester's Northern Quarter, which failed to generate sustainable revenue. Efforts to establish international offices in cities like New York and aimed to support global artist promotion but stretched finances thin without commensurate returns, reflecting a broader pattern of ambitious but undercapitalized growth. A pivotal 1990 distribution deal with London Records initially promised stability but soured as Factory's debts mounted, leaving the label unable to meet obligations and leading to a £2 million shortfall by 1992. On November 23, 1992, Factory filed for bankruptcy, with its assets—including the catalogue—sold to London Records for a nominal £1, marking the end of the independent operation. Tony Wilson later reflected on these failures in interviews, admitting the label's idealistic "non-contract" philosophy—where artists retained ownership—proved naive and directly contributed to the collapse, stating, "That document that states 'We own nothing. The musicians own everything' in the end made Factory bankrupt." He also acknowledged broader mismanagement, noting, "You make money, you build a new office, and you go bankrupt."

Post-Closure Developments

2000s and Catalogue Management

Following the bankruptcy of Factory Records in November 1992, London Records acquired the rights to the label's extensive back catalogue, enabling the preservation and re-commercialization of its core artists' recordings. This acquisition laid the groundwork for targeted reissues in the 2000s, focusing on remastered editions and compilations to capitalize on enduring interest in Manchester's and scenes. For instance, London Records released the limited-edition In Memory box set in 2007, compiling Joy Division's , Closer, and Still on 180-gram vinyl, limited to 3,000 copies with minimalist artwork evoking the original Factory aesthetic. Similarly, New Order's Singles compilation appeared in 2005, gathering key tracks from their Factory era alongside later material, presented in a two-disc format that highlighted the band's evolution. Legal tensions over master rights emerged in the late , stemming from ambiguities in Factory's contract-free artist agreements that carried over post-acquisition. Peter , who departed New Order in 2007 amid band fractures, initiated disputes regarding royalties and usage of and New Order assets, with early conflicts arising from merchandising and touring promotions that questioned ownership of the Factory-era masters held by London Records. These battles, which escalated into formal lawsuits in the , originated in the power struggles following Hook's exit and Factory's unresolved legacy issues, complicating catalogue management. The digital era brought further shifts, with Factory's catalogue becoming available on platforms like starting in the mid-, aligning with the rise of legal downloads following the 2003 launch of the service. Remastered albums, such as Joy Division's 2007 editions, were digitized for online sales, broadening access beyond physical reissues. Streaming availability followed suit by the late , as labels adapted to services like , though initial rollouts focused on key titles from and New Order to test market demand for Factory's analog-era recordings in a nascent digital landscape. Tony Wilson, despite Factory's closure, continued promoting its legacy through the In The City festival and conference, which he founded in 1992 and ran annually until 2010 in . This event served as a platform for industry networking and showcases, often featuring retrospectives on Factory artists and the label's cultural influence, sustaining its ethos in the post-bankruptcy era. Complementing these efforts, the 2002 film , directed by , dramatized Factory's history from its punk origins to its 1990s decline, with portraying Wilson and emphasizing the label's innovative spirit. The movie, released by and , reignited public fascination with Factory's story early in the decade.

Successor Labels

Following Factory Records' bankruptcy in 1992, its catalogue was acquired by London Records, which later became part of Warner Music before being divested. In 2017, Because Music purchased the majority of the London Records catalogue from Warner Music Group, including key Factory artists such as Happy Mondays and A Certain Ratio, but excluding New Order and Joy Division due to their retention of master rights. This acquisition enabled Because Music to manage and reissue much of the original Factory output under the London Music Stream imprint, focusing on global distribution and digital optimization. Factory Benelux, the original Belgian offshoot of Factory Records established in 1980, was revived in 2012 under the curation of James Nice of LTM Recordings, with the approval of its founders Michel Duval and Annik Honoré. The revived label specializes in reissues of classic Factory Benelux material—such as works by , Crispy Ambulance, and Section 25—alongside new recordings from legacy acts including The Names and . By 2025, Factory Benelux continues to release limited-edition vinyl and digital editions, preserving the imprint's and experimental ethos through archival remasters and contemporary projects. New Order and the Joy Division estate maintain direct control over their masters, stemming from Factory's unconventional no-contract policy that effectively granted artists ownership of their recordings. This has allowed independent reissues and licensing decisions by the band members and heirs, independent of larger catalogue holders. Complementing these efforts, Haçienda Records, launched in 2022 as the official digital label tied to the FAC51 club, focuses on electronic music continuations with archival club-related releases and new commissions from artists like Robert Owens. As of 2025, ongoing licensing deals through and artist estates support compilations and streaming availability, ensuring Factory's legacy endures via these successor entities.

Artists and Catalogue

List of Recording Artists

Factory Records, operating from 1978 to 1992, amassed a roster exceeding 50 artists, spanning , electronic, experimental, and classical genres, with signings reflecting Manchester's evolving music scene and occasional forays into . The label's artists were diverse, from seminal bands to pioneers and avant-garde acts, though it excluded non-contracted performers like DJs.

Core Post-Punk Acts

These foundational artists, signed primarily in the late 1970s and early 1980s, defined Factory's early sound with raw, influential releases.
  • Joy Division (signed 1978; notable release: Unknown Pleasures, 1979)
  • A Certain Ratio (signed 1978; notable release: The Graveyard and the Ballroom, 1980)
  • Section 25 (signed 1980; notable release: Always Now, 1981)
  • The Wake (signed 1981; notable release: Harmony, 1982)
  • Stockholm Monsters (signed 1981; notable release: Alma Mater, 1984)
  • Crispy Ambulance (signed 1979; notable release: The Plateau Phase, 1982)
  • The Names (signed 1979; notable release: Swimming, 1982)
  • Minny Pops (signed 1980; notable release: Drastic, 1981)
  • The Distractions (signed 1978; notable release: You're Smiling, 1978)
  • Tiller Boys (signed 1978; notable release: early singles, 1978)

Madchester Era Artists

Emerging in the late 1980s, these acts captured the baggy, rave-influenced movement, with some loose affiliations.
  • (signed 1985; notable release: Squirrel and G-Man Twenty-Four Hour Party People Plastic Face Carnt Smile (White Out), 1986)
  • Northside (signed 1989; notable release: Chicken Rhythms, 1991)
  • James (signed 1986; notable release: Strip-Mine, 1988)
  • (signed 1988; notable release: Pigeonhole, 1990)

Experimental/Electronic Artists

Factory's experimental wing included industrial, synth, and dance acts, signed from 1978 onward, pushing boundaries in electronic music.
  • New Order (signed 1980; notable release: Movement, 1981)
  • Cabaret Voltaire (signed 1978; notable release: Mix-Up, 1979)
  • 23 Skidoo (signed 1981; notable release: Just Like Everybody, 1981)
  • Quando Quango (signed 1981; notable release: Pigs and Battleships, 1982)
  • Orchestral Manoeuvres in the Dark (signed 1978; notable release: Orchestral Manoeuvres in the Dark, 1980)
  • 52nd Street (signed 1980; notable release: Children of the Night, 1985)
  • Biting Tongues (signed 1979; notable release: In a Rhythm, 1981)
  • Kalima (signed 1982; notable release: Nightfall, 1986)
  • Electronic (signed 1989; notable release: Getting Away with It, 1990)
  • Revenge (signed 1989; notable release: One True Thing, 1990)
  • The Other Two (signed 1991; notable release: The Other Two & You, 1991)
  • Swamp Children (signed 1980; notable release: early EPs, 1980)
  • Royal Family and the Poor (signed 1978; notable release: The Sex of It, 1983)
  • Streetlife (signed 1984; notable release: Streetlife, 1985)
  • Life (signed 1982; notable release: World in Action, 1983)
  • Miaow (signed 1985; notable release: Bring It On Back, 1987)
  • Anna Domino (signed 1984; notable release: East and West, 1984)
  • The Wendys (signed 1986; notable release: Mambo into Timbuktu, 1987)
  • The Adventure Babies (signed 1987; notable release: early singles, 1987)
  • The Durutti Column (signed 1978; notable release: Vini Reilly, 1989)

Factory Classical Artists

Through its Factory Classical imprint launched in 1988, the label explored contemporary classical and crossover works.
  • (signed 1988; notable release: The , 1990 reissue)
  • Steve Martland (signed 1988; notable release: Babi Yar, 1988)
  • Wim Mertens (signed 1988; notable release: At Home, 1988)
  • Rolf Hind (signed late 1980s; notable release: piano works, 1990)
  • Duke String Quartet (signed 1989; notable release: contemporary string repertoire, 1990)
  • I Fagiolini (signed 1990s transition; notable release: crossovers, 1990)

Additional Roster Highlights

The label's broader experimentation included and solo ventures, with signings up to the early 1990s.
  • Fadela (signed 1980s; notable release: You Are My Love, 1985, fusion)
  • Ludus (signed 1978; notable release: The Visit, 1980)
  • John Dowie (signed 1978; notable release: EP, 1978)
  • (signed as producer/artist, 1978; notable release: The Factory Sample, 1978)
  • Thick Pigeon (signed 1983; notable release: Tenebrae, 1984)
  • Abecedarians (signed 1985; notable release: Peyote, 1985)
  • Marcel King (signed 1984; notable release: Reach, 1984)
  • Cath Carroll (signed 1980s; notable release: solo works, 1988)
  • ESG (signed for release, 1980s; notable release: , 1983)
  • The Cassandra Complex (signed 1980s; notable release: Theomania, 1988)
  • The Chameleons (signed 1983; notable release: , 1983)
  • Kevin Hewick (signed 1980s; notable release: folk-punk singles, 1980s)
  • Nyam Nyam (signed 1980s; notable release: , 1985)
  • The Railway Children (signed 1988; notable release: Recurrence, 1988)
  • Tuxedomoon (signed 1980s; notable release: collaborations, 1980s)

FAC Numbering System and Discography

The FAC numbering system originated as a practical measure to comply with the record industry's matrix numbering requirements, with proposing FAC 1 for the inaugural release. However, designer Peter Saville successfully advocated for his poster to receive FAC 1, shifting the first music release to FAC 2 and establishing a precedent for applying numbers to all Factory outputs beyond just records. This sequential system, starting in 1979 and extending to FAC 501 and beyond, encompassed music releases, merchandise, venues, and even conceptual items, reflecting Factory's holistic approach to art and commerce. Numbers were allocated roughly chronologically but with intentional gaps for symbolic or aesthetic reasons, reaching up to FAC 372 by the label's closure in 1992, with later post-bankruptcy assignments extending beyond FAC 500, such as FAC 501 for 's coffin. Factory's discography utilized the FAC prefix for singles, EPs, and miscellaneous items, while full-length albums often received FACT designations, though patterns varied by artist—such as Durutti Column albums on multiples of 4 or Joy Division singles on multiples of 3. Key examples include FAC 10 for Joy Division's Unknown Pleasures (1979), a seminal post-punk album that defined the label's early sound, and FAC 73 for New Order's Blue Monday (1983), the best-selling 12-inch single of all time with over 1 million copies sold in the UK alone. Non-music items were equally integral, such as FAC 51 for the Haçienda nightclub's opening poster (1982) and FAC 8 for an egg timer, blurring lines between product and promotion. Over its run from 1979 to 1992, Factory produced around 300 music releases, including albums, singles, and EPs, alongside numerous non-music artifacts, forming a comprehensive catalogue of over 450 FAC-assigned items. In the late 1970s, the focus was on foundational output, highlighted by FAC 2 (, 1979), a double 7-inch EP sampler featuring emerging acts. The 1980s saw explosive growth with electronic and , exemplified by FAC 23 (Joy Division's , 1980), FAC 200 (New Order's Substance compilation, 1987), and FAC 220 (' , 1988), capturing the era's rise. The 1990s brought diversification amid financial strain, with releases like FAC 293 (New Order's with Englandneworder, 1990) and FAC 420 (' ..., 1992) marking the label's final years. Rarities such as test pressings and limited-edition promos, often lacking standard FAC numbering, remain highly sought by collectors for their unpolished insights into production processes. The catalogue was acquired by London Records in 1992, later managed by as of 2010. Following Factory's bankruptcy in 1992, the FAC system persisted through reissues and special projects managed by successor London Records, which owned the catalogue until 2007. Numbers like FAC 401 for the film (2002) and FACDVD 424 for its DVD release continued the tradition, while labels such as LTM have reissued originals under preserved FAC designations to maintain branding integrity. Archival resources for the FAC discography include comprehensive books like Factory Records: The Complete Graphic Album by Matthew Robertson (2006), which documents all numbered items with visual and historical context, and online databases such as and Cerysmatic Factory's master discography, offering detailed listings and international variants.

Legacy and Cultural Impact

Influence on Music and Manchester Scene

Factory Records played a pivotal role in shaping the landscape of late 1970s , launching bands like whose debut album (FAC 10, 1979) captured the city's industrial gloom and influenced a generation of introspective rock acts, including . As evolved into New Order following Curtis's death, the label's releases such as Blue Monday (FAC 73, 1983)—the best-selling 12-inch single of all time—fused with electronic dance elements, bridging to the era where merged with influences in acts like ' (FAC 320, 1990). This progression from dour to euphoric dance fusion not only defined 's sound but inspired global bands like Oasis, who drew on the label's raw, regional authenticity. The Haçienda nightclub (FAC 51, 1982), co-owned by Factory and New Order, became the epicenter of Manchester's rave culture, adopting music in 1988 and fueling the "Second " that spread ecstasy-fueled parties across the . By hosting events like Nude nights, which introduced tracks to British audiences, the venue transformed from a struggling rock club into a packed hub for electronic music, fostering a hedonistic scene that blended remnants with imported dance sounds and revitalized Manchester's nightlife. This shift not only popularized in the UK but also created a communal space for youth rebellion, with the Haçienda's influence extending to the broader movement through releases like the ' Madchester Rave On EP (FAC 242, 1989), which coined the scene's name. Factory Records solidified Manchester's identity as a creative powerhouse, branding the through —a term that encapsulated its fusion of indie, , and —and boosting the local economy via and cultural reinvention. The label's promotion of the scene, led by founder , attracted international visitors for music tours and nostalgia events, contributing to the growth of the Northern Quarter as a leisure district and enhancing Manchester's post-industrial image as the "Original Modern" . Iconic wall murals depicting Factory artists and further embedded this legacy in the urban fabric, drawing fans and sustaining a tourism sector tied to the city's musical heritage. On a global scale, Factory exported Manchester's indie to the US and Europe, inspiring labels like with its DIY approach of self-financed releases and collaborative networks that bypassed major industry gatekeepers. The label's quasi-situationist hedonism and regional pride influenced international indie scenes by prioritizing over commercial formulas, as seen in its hand-to-mouth operations from a flat that still achieved mainstream hits. Socially, Factory promoted a DIY that encouraged creativity, while fostering diversity in the scene; women like co-founder Lindsay Reade managed key signings and licensing, and performers such as contributed radical feminist visuals, with female DJs and staff integral to the Haçienda's inclusive environment.

Retrospectives, Documentaries, and Recent Tributes

The 2002 film , directed by and starring as , dramatizes the rise of Factory Records, focusing on its founding, key artists like and New Order, and the cultural explosion surrounding nightclub. A companion documentary, : The Factory Records Saga, released the same year, provides a more factual overview of the label's history through interviews and archival footage, tying into the film's promotion. The 2007 documentary , directed by Grant Gee, explores the band's brief career within Factory's ecosystem, using rare performance footage, photos, and interviews with surviving members to contextualize their innovation and tragic end. The 2007 BBC Four documentary Factory: from to Happy Mondays, narrated by , chronicles the label's trajectory with contributions from former associates, emphasizing its influence on 's music scene through bands like New Order and . Tony Wilson's 2002 book : What the Sleeve Notes Never Tell You serves as a semi-autobiographical account of Factory's origins, blending with fictionalized elements to capture the label's chaotic ethos and Wilson's role as its visionary leader. contributed essays and to retrospectives like the 2009 box set Factory Records: Communications 1978-92, which compiles 63 tracks from the label's catalog and reflects on its experimental output through Morley's critical lens on and indie innovation. Recent tributes in the 2020s have revived interest in Factory's lesser-celebrated acts. Northside's 1991 debut album Chicken Rhythms, originally released on Factory, saw a reissue in November 2025 on London Records, featuring remastered tracks from the original masters, bonus rarities, and restored artwork to honor its Madchester-era energy. In November 2025, The Haçienda released 51 DJ mixes from its archive on Apple Music, including sets by artists such as Frankie Knuckles, Carl Cox, and Laurent Garnier, further highlighting the club's pivotal role in electronic music history. The Distractions' early catalog received renewed attention through expanded reissues, including a 2020 deluxe edition of Nobody's Perfect with remastered audio and bonus tracks, underscoring their overlooked role in Factory's post-punk lineup. Peter Hook, former Joy Division and New Order bassist, discussed Factory's legacy in a 2023 interview with Electricity Club, reflecting on the label's collaborative spirit and its impact on electronic music evolution. Exhibitions have celebrated Factory's visual and cultural heritage. The "Hacienda 25: The Exhibition" (FAC 491), held from 2007 to 2008 at Urbis in , featured original artifacts, films, and events celebrating 25 years of the club, with performances and installations evoking its iconic status. Design-focused shows, such as the 2021 "Use Hearing Protection: The Early Years of Factory Records" at 's , showcased Peter Saville's seminal artwork, rare artifacts, and technological innovations from 1978–1982, highlighting the label's integrated approach to and . Similarly, the 2019 Praxis XL exhibition curated by Trevor Johnson displayed reconfigured Factory archives alongside limited-edition prints, emphasizing the label's graphic design as a cornerstone of its identity. Despite these efforts, modern media often underrepresents Factory's lesser-known acts, such as female contributors and peripheral bands, with exhibitions like the 2021 "Unknown Treasures" at Manchester's calling for more inclusive retellings to spotlight women in A&R, , and who shaped the label's output. This gap persists in documentaries and books, which prioritize flagship artists like while marginalizing diverse voices from Factory's broader roster.

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