Poetry and romanticism are firewalls against the current situation.
The release of ‘Serenity in Chaos’, Factheory’s first full-length album, did not go unnoticed. Our colleague Kurt Ingels wrote: “Factheory’s music is intimate post-punk, a bit poetic too, introverted rather than biting, carried here and there by some cold wave and even folk influences in the semi-acoustic pieces.” The Brussels post-punkers seem to have reached maturity, after having released a number of captivating singles and EPs. We invited Factheory to play at the next Dark Entries Night on Saturday 18 January 2024, and with this in mind, we also had a chat with singer Bruno Uyttersprot.
2024 was an important year for you. In any case, it was the year in which you released ‘Serenity in Chaos’, your official debut after several singles and EPs. How do you evaluate the success of this record?
‘Serenity in Chaos’ is indeed our first full-length album. It was the result of our states of mind following the pandemic. It was an unusual period that gave rise to a lot of perspective and distancing. The mood of the songs reflects this time. The next EP will be released in February and is called ‘Post Modern Life’. It will be accompanied by a new music video and extends this observation: Collapse is everywhere and goes hand in hand with denial by the elites who dominate us. The album is a great success and we have received positive reviews overall. It has helped us consolidate our fan base. But let’s be honest and modest, this remains confidential and limited.
In your biography you write that the name Factheory comes from the legendary label Factory Records, which released Joy Division records among others. What influence does this label and this band have on your music?
Joy Division changed my life. I can’t speak for Dominique (the bassist and keyboardist) and Stefan (the second guitarist) even if I think I can say that they are also fans. It is both their music and the raw sensitivity of the singer that made me want to make music and write lyrics. In my adolescence in the early 80s, I identified with Ian Curtis, and Joy Division's music haunted me for years. Other Factory Records productions, such as A Certain Ratio or Section 25, were part of the same state of mind. There was a collapse under the pressure of Thatcher and Reagan's neoliberalism. Today, it is even more marked, neoliberalism is destroying the planet, the current music that we produce can only reflect this observation.
You recently played with The Names, the legendary Belgian band linked to Factory Records. How did that go?
Very cool. Michel Sordinia, the singer, is an old friend and accomplice. I have always been a big fan of the group. I like to remind him that I was probably one of the very first to buy the album ‘Swimming’, produced by Martin Hannet and released on Les disques du crépuscule. I was waiting in front of the record store (Caroline music) the day the album came out to buy it. Michel also wrote the preface to one of my books dedicated to New Wave music: ‘Chroniques New Wave’ 1 and 2 published by K1L Editions in Jodoigne and available in bookstores, unfortunately only in French.
Even though your music is post punk in its essence, you don’t hesitate to incorporate other influences including dub or folk. You’ve described your music as ‘romantic melodic postpunk’. I like that notion, but how did you get there?
It is romantic because I claim this state of mind. Poetry and romanticism are firewalls against the current situation. My texts are first poems that we set to music. For a few months, Dominique has also been offering texts, which will be used for the second album, ‘WhentheWorld’. It will be released in the fall and when this happens, we will tour the capitals of Central Europe: Prague, Bratislava, Budapest ... We are postpunk because we are a generation that succeeded punk and its Do It Yourself state of mind, with a desire to remain independent, without having to make concessions in our approach. It is also because we have no musical training, but learned everything on the job.
It's hard to find information about the formation of Factheory. I think you formed around 2016 by members of former bands like Dirty Time, Petit Futur, Amazing Games and Unsaid, some of which even date back to the 80s. Can you tell us more about the formation of Factheory?
The band started in 2016 but only did covers of Joy Division and The Sisters of Mercy. However, very quickly, after three or four months, we injected our own compositions and finally stopped doing covers. The last Joy Division cover was played as the opening act for Christian Death in Bilzen in August 2022, a concert organized by the late Bart Doumen. Thinking of Bart ... We had all been in alternative bands before, and we had known each other since then. Stefan has been a friend since high school and Dominique shared the stage at concerts in Brussels at the same time.
Your first EP dates from 2019 and is called ‘Stockholm’. This was followed by ‘3Sand1D’ in 2021 and ‘Black My Heart’ in 2022. What is the advantage for you of releasing your music in EPs, in pieces of three or four songs?
To be more precise, we first released a mini demo album ‘Weekend au Black Studio’ which has since become a collector’s item. That was in 2018. Then indeed came ‘Stockholm’ and the others. This formula of releasing the tracks in physical format is important to us. It allows us to interact with the public during concerts via merchandising. It is first of all an opportunity to communicate with people and to resist a total dematerialization of the music we listen to.
Do you consider that you have evolved musically from ‘Stockholm’ to ‘Serinity In Chaos’, and in what direction?
Clearly. Firstly because the group leaves more room for the collective approach and the initiative of the three members to come up with proposals. Let's be clear, until 2019, I was the main composer, apart from a few tracks, including ‘Stockholm’ precisely, composed by Stefan. The other musicians – there were five of us until 2021 – added their contributions based on my composition. As I mainly start on the acoustic guitar, the melodic framework and the structure were ready before the other contributions. Today, Dominique or Stefan come with their own melodies and we work together on the arrangements. I want to say that we are more of a band than when we started.
You formed your own label K1L Records, and if I’m not mistaken, your album and your three EPs were all released in physical format. It’s not easy to release physical records today. What is your motivation to continue doing it?
The label is managed by my brother who is also a graphic designer, engraver and publisher. My books are also published by him. He takes care of the band’s layouts and the creation of the covers. It’s a family affair in fact. The physical records are necessary as explained above. It’s also a (modest) financial income for the band. But let’s be clear, it costs more than it brings in financially. But they are beautiful objects and they will make memories in the attics for our children and grandchildren!
Although Factheory’s main language is English, you have also produced songs in French and even used Dutch. What is your view on the use of languages in rock music?
Dutch is an idea of Dominique, who is also Flemish. English is a given, because it is the language of Anglo-Saxon music par excellence. French is my mother tongue. So these are natural choices.
I get the sense that you have a great reverence for Nick Cave. You recently covered ‘Jubilee Street’, but his influence can also be heard on a lot of the songs. Can you tell me why you care so much about Nick Cave, and can you tell me more about the inspiration for the ‘Jubilee Street’ cover?
Nick Cave is the most exciting artist of his generation. I’ve seen him on stage many times since his band The Birthday Party until a few years ago at the Antwerp Arena. I’m less interested in what he's been doing since ‘The Skeleton Tree’. It’s very dark and his rage is less present. His mystical side also irritates me but he has a flourishing and extraordinary body of work. He influenced us and continues to influence us.
The cover of ‘Jubilee Street’ is a commission from the Unknown Pleasures label, a French label from Avignon that specializes in darkwave. He has produced a series of tribute compilations to artists: Bauhaus, Psychic TV among others. It's a collaboration that should, I hope, call for others ... For ‘Jubilee Street’, it’s mainly a big job from Dominique, who did all the arrangements. I really like this cover, because it sounds like a cross between the early New Order and the Nick Cave of the 80s and 90s, in short the best of their music and our major influences.