While many contemporary bands have adopted a metal-funk stance, the members of Factory 81 come by their influences naturally. The band hails from Detroit, the smokestack epicenter of American popular music. With the nationwide release of their independently-produced debut album, Factory 81 officially heralds the Motor City's musical reemergence.

But make no mistake: Though Factory 81 is proud of their Detroit heritage, the band stubbornly shuns populist antics. As “mankind” so righteously attests, Factory 81 is closer to the non-conformist fringe than the privileged upper class. Indeed, while most bands harbor dreams of rock stardom, Factory 81 challenges fans to question their idol worship proclivities. "If I stood before you with my face deformed / You'd turn and laugh now/ It wouldn't matter that I'm a life," vocalist Nate Wallace sings on "Diary of a Serial Killer." Displaying an endearingly foolhardy tendency to bite the hand that feeds them, Factory 81 bolts to the forefront of the modern rock milieu.

For their part, the band says “mankind” echoes their raucous live performances. "It's definitely an intense, groove-oriented album," says guitarist, Bill Schultz. "Everybody in the band contributed. We all hate predictability and the obvious. We always try to do things differently when we write songs."

Singer/lyricist Nate Wallace says the Factory 81 sound is the result of varying influences. "We try to utilize and incorporate a lot of diverse elements like jazz, hip-hop and tribal-based drum beats," the singer says. "Kevin, our bass player, listens to a lot of heavy stuff, while my influences are Black Sabbath, Bjork and old jazz like Miles Davis and Charlie Parker. Everybody's got an interesting influence they bring to the band."

With their disdain for the ordinary, Factory 81 creates an earthshaking din that is manifest in Wallace's tooth-gnashing vocals and Schultz's saw-toothed guitar. The bands’ love of hardcore metal and funk is evident in the low-frequency roar of bassist Kevin Lewis and the percussive assaults of Andy Cyrulnik. Tracks like “Peace Officer”, “Cheese Wheel”, and “Belligerence”, conjure cinematic images of collapse, apocalypse and scorched earth.

According to Wallace, “mankind” was composed and recorded in an instinctual rush. "The record just kind of developed into a concept album, except it doesn't have a specific concept," the singer says. "There are a lot of statements about social and political topics and spiritual aspects. But there was never a plan or anything. It all just came together."

"Though we might sing about police brutality, the media and other things, we ultimately want people to interpret the songs for themselves," says Wallace. "You might hear a phrase that reminds you of a certain thing, but we try not to be too specific. We want people to think."

Independently produced by the band itself, “mankind” was initially released in Detroit in 1999. In its effusive review of the disc, Pimp Rock Palace wrote: "(Factory 81) has what it takes to make innovative, cutting-edge, emotion-drenched music." Major labels picked up the scent and began wooing the band. Not surprisingly, the foursome followed its collective gut and chose California-based indie, Mojo Records. "The people at Mojo were on the same wavelength as us," says guitarist Schultz. "They had the independent touch we wanted, with the added bonus of having the power of major distribution."

In October 2000, Factory 81 contributed a cover of the Cypress Hill classic, "Insane in the Brain” to the Republic/Universal Records compilation, "Take a Bite Outta Rhyme: A Rock Tribute to Rap." Other bands featured include Staind, Sevendust, Bloodhound Gang, Insane Clown Posse, and others. But while the tribute disc finds Factory 81 performing alongside their agro peers, the band’s debut album offers a listening experience all its own. Veritably seething with primal rock rhythms, chanted vocals and strange incantations, “mankind” establishes Factory 81 as the thinking person's aggro-metal outfit.

In 2001, Mojo Records closed its doors for good and after 6 months of looking for a buyer, Mojo sold their artists to Jive Records (Britney Spears, N’Sync.). Following Factory 81's move to Jive, in November 2001, the band did a brief string of headlining dates in Japan. However, Factory 81 was unenthusiastic about being a part of Jive Records. The only good thing that came out of the Jive Records relationship is that “mankind” was released in 10 additional countries, which has helped create a growing Factory 81 international fan base. After Jive Records was sold to BMG, Factory 81 asked for and negotiated a release from Jive. Since their departure from the label, the members of Factory 81 have been focusing all of their efforts on writing material for their next album. Their hard work and diligence in crafting the new material is quite evident in songs such as “Absentee Generation” and “Now A Word From Our Sponsor”. The band is currently available to sign a new deal with a label that has a proven track record with metal and rock music. As the band continues to tour and write new material, they hope to record their follow up to "mankind" later this year. Stay tuned....