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The Durutti Column
The Durutti Column
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The Durutti Column are an English post-punk band formed in 1978 in Manchester, England.[2] The band is the project of guitarist and occasional pianist Vini Reilly, often accompanied by Bruce Mitchell on drums and Keir Stewart on bass, keyboards and harmonica.

Key Information

The band were among the first acts signed to Factory Records by label founder Tony Wilson.[3] They distinguished themselves from their post-punk contemporaries through Reilly's clean, atmospheric guitar playing and incorporation of jazz, folk, and classical influences.[4] They later incorporated sampling and electronic dance rhythms.[4]

History

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Early line-ups

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In 1978, Tony Wilson and Alan Erasmus, later partners in Factory Records, assembled a band around the remnants of local punk rock band Fast Breeder, specifically drummer Chris Joyce and guitarist Dave Rowbotham.[5] The name was derived from a misspelling of the Durruti Column, an anarchist military unit in the Spanish Civil War, named after Buenaventura Durruti. The name was also taken from a four-page comic strip entitled "Le Retour de la Colonne Durruti" ("The Return Of The Durruti Column")[6][7] by André Bertrand, which was handed out amidst student protests in October 1966 at Strasbourg University.[8]

On 25 January, Vini Reilly, former guitarist for local punk rock band Ed Banger and the Nosebleeds, joined, followed some weeks later by co-member vocalist Phil Rainford and, by the end of February, bassist Tony Bowers arrived from Alberto y Lost Trios Paranoias.[5] The line-up was short-lived as Rainford was sacked in July,[2] and replaced by actor Colin Sharp, who also became one of the songwriters. Rainford went on to produce for Nico and Suns of Arqa.

The Durutti Column played at the Factory club (organised by their managers), and cut two numbers for the first Factory Records release A Factory Sample,[6] a double 7" compilation produced by Martin Hannett,[6] also featuring Joy Division, John Dowie and Cabaret Voltaire.[5] On the eve of recording a debut album, the band broke up after a dispute about Wilson and Erasmus's choice of producer.[5] Rowbotham, Bowers and Joyce went on to form The Mothmen[6] (the latter two becoming members of Simply Red some years later), Sharp went on to form The Roaring 80s, SF Jive, and Glow, and also dedicated himself to acting; only Reilly remained.[5]

With everyone's departure, The Durutti Column defaulted to Reilly's solo project. Other musicians contributed to recordings and live performances as occasioned. Former Alberto Y Lost Trios Paranoias drummer Bruce Mitchell doubled as co-manager with Wilson throughout their career on Factory and for many years afterward.[6]

1979–1990: Factory Records

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The first album, 1980's The Return of the Durutti Column (title inspired by a 1967 Situationist International poster that includes that phrase), was produced by Martin Hannett.[6] Reilly: "...he more or less got sounds for me that no one else could understand that I wanted. And he understood that I wanted to play the electric guitar but I didn't want this horrible distorted, usual electric guitar sound and he managed to get that". The record featured a sandpaper sleeve (like the title of the record, inspired by a Situationist joke, a book – Guy Debord's Mémoires – with a sandpaper cover to destroy other books on the shelf). "I didn't even know it was going to be an album. It was just the case of jumping at the chance of being in the studio. I actually didn't get up in time, Martin had to physically get me out of bed to get me to the studio – that's how little I believed it would happen. I was still doing late night petrol station shifts. I was even more amazed when Tony presented me with a white label. I was completely baffled. 'What, this is really going to be an album? You must be insane! No-one's going to buy this!' And then Tony got the idea from the Situationists about the sandpaper book, and decided to do some with a sandpaper sleeve. It was Joy Division that stuck the sandpaper onto the card. I was mortified."[9][10]

The music was unlike anything else performed by post-punk acts at the time. Reilly rooted himself in "new wave" with "...an attempt at experimental things";[11] the record contained nine gentle guitar instrumentals (later releases occasionally feature Reilly's soft and hesitant vocals) including elements from jazz, folk, classical music and rock. Reilly: "...I had a lot of classical training when I was young, guitar and formal training, the scales I write with and the techniques I use are classical techniques and scales – a lot of minor melodic and minor harmonic scales, which generally aren't used in pop music. Usually it's pentatonic". Hannett's production included adding electronic rhythm and other effects, including birdsong on "Sketch for Summer". The album was accompanied by a flexidisc with two tracks by Hannett alone.[2]

LC ("Lotta Continua", Italian for "continuous struggle"), released in 1981, was recorded without Hannett, and introduced percussionist Bruce Mitchell, Reilly's most frequent musical partner and occasional manager. It was recorded on a four-track cassette deck at home (while it was slightly padded in the studio, the tape hiss is intact); among the first crisp, professionally released recordings made cheaply at home.[12] The EP Deux Triangles, released in 1982, contained three instrumentals, with piano emphasised over guitar. Another Setting (1983) was again Reilly and Mitchell; in 1984, the band was expanded to include Richard Henry (trombone), Maunagh Fleming (cor anglais and oboe), Blaine Reininger (of Tuxedomoon; violin and viola), Mervyn Fletcher (saxophone), Caroline Lavelle (cello), and Tim Kellett (trumpet). The album Without Mercy, arranged by John Metcalfe, was intended as an instrumental evocation of the poem La Belle Dame sans Merci by John Keats.

Say What You Mean was a departure from roots with the addition of deep electronic percussion.[13] Kellett and Metcalfe remained (Metcalfe playing viola); they also appear alongside Reilly and Mitchell on Circuses and Bread (Factory Benelux in 1985) and Domo Arigato. The latter is a live album recorded in Tokyo and the first pop album released in the UK solely on the relatively new compact disc format (and also available on VHS and LaserDisc.)

Kellett left to join Simply Red, but guested on The Guitar and Other Machines (1987), the first new UK album to be released on Digital Audio Tape (as well as the usual media of LP, audio cassette and CD).[14] The Guitar and Other Machines has a far more direct sound than earlier records, with guest vocals from Stanton Miranda and Reilly's then partner, Pol, and the use of a sequencer and drum machine in addition to Mitchell's drumming. The album was produced by Stephen Street, who also produced Morrissey's solo album Viva Hate (1988), on which Reilly played guitar. Reilly has said he was neither properly credited nor compensated for composing most of the music on Viva Hate.[15]

Vini Reilly (1989), also produced by Reilly and Street, features extensive use of sampling, with looped samples of vocalists (including Otis Redding, Tracy Chapman, Annie Lennox and Joan Sutherland) used as the basis for several tracks.[2] Initial copies came with a 7" or CD single, "I Know Very Well How I Got My Note Wrong", credited to "Vincent Gerard and Steven Patrick", in which a take of the Morrissey B-side "I Know Very Well How I Got My Name" dissolves into laughter after Reilly hits a wrong note.

On Obey the Time (1990), Mitchell played on only one track, the album being otherwise a solo recording by Reilly, heavily influenced by contemporary dance music. The album's title is a phrase uttered by the titular character of William Shakespeare's Othello toward his fiance, Desdemona in Act One, Scene Two: "I have but an hour of love, of worldly matters and direction, To spend with thee: we must obey the time." An accompanying single, "The Together Mix", featured two reworkings of album tracks by Together, Jonathon Donaghy and Suddi Raval (Donaghy was killed in a car crash in Ibiza before the single was released). This was to be the last Durutti Column record released by Factory, in early 1991.

1990 onward: after Factory

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The band at Cox's Yard, Stratford-upon-Avon, in 2006

For the first few years after the demise of Factory, the only Durutti Column album releases were Lips That Would Kiss (a 1991 collection of early singles, compilation contributions and unreleased material on the separate label Factory Benelux), and Dry (1991) and Red Shoes (1992), Italian collections of alternate versions and unreleased outtakes.

Former member Dave Rowbotham was killed by an unknown assailant in 1991.[5] He was later memorialised by the Happy Mondays in the song "Cowboy Dave".

In 1993, Tony Wilson attempted to revive Factory Records, and Sex and Death was the first release on Factory Too (a subdivision of London Records). The album was once again produced by Stephen Street, with Mitchell and Metcalfe, and it included, on the track "The Next Time", Peter Hook of New Order. Time Was Gigantic ... When We Were Kids, which followed in 1998, was produced by Keir Stewart, who also played on the album and has frequently worked with Reilly since. Fidelity was released between these albums in 1996 by Les Disques du Crépuscule and was produced by Laurie Laptop.

The eight albums recorded for Factory (The Return of the Durutti Column, LC, Another Setting, Without Mercy, Domo Arigato, The Guitar and Other Machines, Vini Reilly and Obey the Time) were re-released with additional material by Factory Too/London, under the banner Factory Once, between 1996 and 1998.

In 1998, Durutti Column contributed "It's Your Life Baby" to the AIDS benefit compilation album Onda Sonora: Red Hot + Lisbon produced by the Red Hot Organization.

Factory Too effectively ended in 1998, and subsequent Durutti Column albums have been on independent labels Artful Records (Rebellion [2001], Someone Else's Party [2003], Keep Breathing [2006], Idiot Savants [2007]) or Kookydisc (Tempus Fugit [2004], Sunlight to Blue . . . Blue to Blackness [2008]). Kookydisc has also released two further volumes of The Sporadic Recordings (along with a slightly edited re-release of the first volume from 1989), remastered versions of two very scarce LPs from the early 1980s (Live At The Venue [2004] and Amigos Em Portugal [2005]), and two subscription-club discs of rare and unreleased material. A download-only release, Heaven Sent (It Was Called Digital, It Was Heaven Sent), first appeared in 2005 via Wilson's project F4, which was marketed as the fourth version of Factory Records.

A short Jeff Noon play adapted for BBC Radio 3, Dead Code - Ghosts of the Digital Age (BBC Radio 3, 2005), was partially soundtracked by The Durutti Column.

On 7 September 2009, Colin Sharp died from a brain haemorrhage.[16] Reilly suffered a stroke in 2011, following which he was left unable to play the guitar the way he did before.[17]

Discography

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Sources

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  • Nice, James (2011) [2010]. Shadowplayers: The Rise and Fall of Factory Records (paperback ed.). London: Aurum Press. ISBN 978-1-84513-634-5.

References

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Revisions and contributorsEdit on WikipediaRead on Wikipedia
from Grokipedia
The Durutti Column is an English band formed in in 1978 as the ongoing musical project of composer-guitarist (born Vincent Gerard Reilly, 4 August 1953). Named after , the anarchist who commanded a column during the , the band initially emerged from Manchester's punk scene before evolving into an instrumental ensemble blending , ambient, and experimental elements. One of the first acts signed to by , it released its debut album, The Return of the Durutti Column, in 1979, featuring Reilly's signature sparse guitar lines produced by . Over subsequent decades, Reilly, often joined by drummer Bruce Mitchell and multi-instrumentalist Keir Stewart, produced a prolific discography including notable releases such as LC (1981), Without Mercy (1981), and The Guitar and Other Machines (1989), characterized by minimalist compositions emphasizing Reilly's innovative techniques influenced by classical and styles. The band's work, rooted in Manchester's milieu alongside acts like , has garnered acclaim for its atmospheric soundscapes and Reilly's status as a virtuoso guitarist, though it maintained a rather than mainstream commercial success. Despite lineup fluidity and Reilly's personal challenges, including health issues, The Durutti Column remains active, with recent output like A to Wilson (2015) paying homage to Factory's founder.

History

Formation and early development (1978–1979)

The Durutti Column originated in January 1978 in , when , a Granada Television presenter, and Alan Erasmus assembled an initial quintet as an experimental 'new ' project, drawing members from local punk outfits including Fast Breeder, , and . The name derived from , the Spanish anarchist militia leader during the Civil War, reflecting Wilson's interest in radical history. , born Vincent Gerard Reilly on 4 August 1953 and active in Manchester's underground scene, was recruited early, providing the project's core instrumental voice amid punk influences. The original lineup proved short-lived, splintering by late 1978 and reducing the act to Reilly as its principal figure, with Wilson and handling management under the nascent banner. As Factory's first signed act for its May 1978 club nights at the Russell Club in and subsequent label operations, The Durutti Column embodied early exploratory efforts, predating major releases but aligning with the imprint's ethos alongside acts like . Early activity included 1978 studio sessions yielding tracks such as "No Communication" and "Thin Ice (Detail)", characterized by vocals, reggae-tinged rhythms, and Reilly's emerging guitar style—distinct from the instrumental that followed. These appeared on the January 1979 double 7-inch compilation (FAC 2), Factory's debut release, shared with contributions from , Cabaret Voltaire, and comedian John Dowie, in an edition of approximately 5,000 copies. By August 1979, Reilly recorded material for the debut album The Return of the Durutti Column at Cargo Studios in , produced by on eight-track equipment, with subsequent mixing at in .

Association with Factory Records (1979–1992)

The Durutti Column's association with Factory Records began in 1979, when the project, led by guitarist Vini Reilly, contributed two tracks—"Sketch for Summer" and "Sketch in the House"—to the label's inaugural release, A Factory Sample (FAC 2), alongside Joy Division and Cabaret Voltaire. This compilation marked Factory's entry into music production under founders Tony Wilson and Alan Erasmus, who had initially assembled the band in 1978 as a quintet exploring "new psychedelia" but soon centered it on Reilly after other members departed. Reilly, dissatisfied with early recordings, briefly left before Wilson and Erasmus convinced him to continue, establishing the project's enduring tie to the label's artistic ethos. The debut album, The Return of the Durutti Column, followed in January 1980 (FAC 44), produced by at Cargo Studios in and featuring Reilly's sparse, effects-laden guitar alongside drumming from Chris Joyce (later of ). Its sleeve, designed by Peter Saville, used fragile paper to evoke disposability and texture, aligning with Factory's innovative packaging. Hannett's production emphasized Reilly's minimalist style, blending with ambient and classical influences, distinguishing the project from the label's more aggressive acts like . Subsequent releases solidified the partnership through the 1980s. LC appeared in 1981 (FAC 54), incorporating tape loops and Reilly's solo guitar experiments. (1983, FAC 94) and Without Mercy (1984, Fact 84) expanded on orchestral elements and Reilly's flamenco-inspired techniques, with the latter featuring string arrangements. By mid-decade, collaborations included attempts with in 1985, though Reilly's focus remained introspective. The Guitar and Other Machines (1987, produced by ) and (1989) reflected evolving production, while Obey the Time (1991, FACD 326) integrated Manchester's dance influences with engineers from the scene. Throughout, Wilson provided paternal support, granting Reilly creative autonomy amid Factory's eclectic roster. The era ended with Factory's financial collapse and liquidation in November 1992, exacerbated by debts and mismanagement, though the label had sustained Reilly's output without commercial pressures. This period yielded eight principal Durutti releases on , showcasing Reilly as the constant amid shifting collaborators like drummer Bruce Mitchell from 1982 onward, and underscoring the label's role in nurturing outside punk's raw energy.

Post-Factory era and ongoing activities (1993–2025)

Following the collapse of Factory Records in November 1992, Vini Reilly continued The Durutti Column as a primarily solo endeavor, releasing material through independent and revived labels. The short-lived Factory Too imprint, established by London Records in 1993 as a successor to Factory, signed Reilly and issued Sex and Death on November 14, 1994, marking the project's first post-Factory album with beats and samples integrated into Reilly's signature guitar style. This was followed by Fidelity in 1996, also on Factory Too, which further explored electronic elements before the label folded in 1998. Subsequent releases shifted to smaller labels such as Kooky Records, with Someone Else's Party appearing in 1997, featuring collaborations and a return to more acoustic textures. In the , albums like Rebellion (2001) and Conspiracy Theories (2002) on Kooky continued the output, often delving into thematic soundscapes with minimal personnel, primarily Reilly on guitar and occasional drumming by Bruce Mitchell. Later efforts included A Paean Quo Fui, Non Sum in 2009 on Touch Music, a tribute incorporating archival elements, and Short Stories for Pauline in 2012, reflecting personal introspection amid health challenges. Reilly's activities diminished in the and due to personal hardships, including periods of and PTSD stemming from earlier life traumas, as detailed in a 2023 where he stated, "I've played for 60 years. That's long enough," signaling a potential cessation of new performances. No live tours occurred after the mid-2000s, with the last documented concerts around 2006. Ongoing efforts focused on reissues and archival material, such as the expanded Vini Reilly box set in 2024 and a 45th-anniversary edition of The Return of the Durutti Column scheduled for November 28, 2025, preserving the project's legacy without new compositions. These releases underscore Reilly's enduring influence, though production halted amid his stated intent to retire from .

Personnel

Vini Reilly as central figure

Vincent Gerard Reilly, known professionally as Vini Reilly, born on 4 August 1953 in Blackley, Manchester, serves as the founder, leader, and principal composer-guitarist of The Durutti Column. Initially trained as a classical pianist by his parents, Reilly shifted to guitar in his mid-teens, immersing himself in Manchester's punk scene with bands such as Ed Banger and the Nosebleeds before catching the attention of Factory Records co-founder Tony Wilson. In 1978, Wilson conceived The Durutti Column as a project centered on Reilly's innovative guitar work, recruiting initial collaborators including drummer Chris Joyce from The Fall and percussionist Phil Joy, though Reilly soon emerged as the project's enduring core. Over the band's four-decade span, Reilly has defined its sound through minimalist compositions featuring intricate arpeggios, ambient textures, and sparse arrangements, often performing as a solo entity or with rotating drummers like Bruce Mitchell and keyboardists such as Keir Stewart. His reclusive approach and technical mastery—described by contemporaries as among the finest guitarists globally—have positioned the ensemble as an extension of his personal vision rather than a traditional band structure. Reilly's centrality extends to production and curation, with most Durutti Column albums bearing his compositional stamp, even amid ' experimental ethos and post-label independence up to 2025. Despite health challenges, including a 2012 that impaired his playing, he has continued releasing and performing sporadically, underscoring his irreplaceable role in the project's evolution from punk-adjacent origins to ambient and electronic explorations.

Phil Rainford and his contributions

Phil Rainford served as the original vocalist for The Durutti Column during the band's formation in early 1978. He joined alongside guitarist Vini Reilly, second guitarist Dave Rowbotham, and drummer Chris Joyce, forming the initial lineup under the influence of Factory Records founder Tony Wilson. This configuration performed a handful of live shows, including at the Deeply Vale Festival on July 22, 1978, where the band played tracks such as "I Like I Hate," "Smile," "Necrophiliac's Blues," "Halitosis," and "Boxes." Rainford's tenure was brief, ending in July 1978 when he was sacked amid tensions between Wilson's artistic vision for and the members' preferences. Accounts differ on whether he contributed vocally to the two tracks—"Sketch for Summer" and "Photograph"—recorded for Factory's debut sampler EP (released January 24, 1979); some sources indicate recording occurred during his involvement but without credit due to the ensuing disbandment, while others place his dismissal prior to those sessions. His exit prompted resignations from bassist Tony Bowers, Rowbotham, and Joyce in solidarity, effectively reducing the project to Reilly's solo endeavor and shifting its sound away from punk-oriented vocals toward instrumental ambient guitar work. Rainford's contributions thus centered on the proto-band's live performances and embryonic affiliation, helping establish its roots before the group's reconfiguration. Post-departure, he pursued production work for artists including Nico and Suns of Arqa, but did not re-engage with The Durutti Column.

Other collaborators and lineup changes

The Durutti Column began in early 1978 as a short-lived ensemble featuring Vini Reilly on guitar, Phil Rainford on vocals, Dave Rowbotham on guitar, Chris Joyce on drums, and Tony Bowers on bass. Tensions culminated in Rainford's dismissal, prompting Joyce, Bowers, and Rowbotham to resign in solidarity, transforming the group into Reilly's solo project. By 1980, Reilly partnered with drummer Bruce Mitchell, previously of , for the 1981 album LC, initiating a enduring collaboration. Mitchell, born June 6, 1940, has supplied drums and percussion across multiple albums and tours, remaining active into his 80s. Keir Stewart emerged as another key associate, contributing bass, keyboards, harmonica, production, and engineering from the mid-1980s onward, including on recent releases like the 2023 album Time Was Gigantic When We Were Kids. Subsequent lineups incorporated session players and guests tailored to recordings, such as John Metcalfe's string arrangements on Without Mercy (October 1984) and vocalist Eley Rudge on tracks from Someone Else's Party (2003). Later examples include Caoilfhionn Rose's vocals on the 2023 album. This fluid structure, centered on Reilly with Mitchell and Stewart as regulars, has defined the project's evolution, avoiding fixed band configurations.

Musical Style

Core elements and guitar techniques

The Durutti Column's music centers on atmospheric, instrumental guitar compositions characterized by shimmering melancholy and ambient textures, distinguishing it from the angst-driven of contemporaries. 's playing incorporates influences from , folk, and , creating sparse yet intricate pieces that emphasize emotional depth over aggression. These elements produce a sound often described as delicate and poignant, with delay-drenched guitars evoking wintry introspection. Reilly's guitar techniques rely on fingerstyle playing without a plectrum, utilizing long, hardened nails on his right hand to pluck strings for a softer, more nuanced tone. This approach yields a clean, fluid style blending fluidity, classical precision, and expressiveness, resulting in technically pristine lines that prioritize texture and space between notes. He frequently employs effects such as the for modulated, echo-laden tones, enhancing the atmospheric quality, as notably used on the 1981 album LC recorded with a four-track TEAC machine. Reilly typically plays modified Fender Stratocasters or Customs through a Roland JC-120 Chorus amplifier, achieving sparkling, chorus-infused swirls. These techniques enable virtuosic yet understated performances, where Reilly's emotive phrasing and innovative sampling—pioneered on albums like The Guitar and Other Machines (1987)—integrate guitar with electronic elements for experimental depth. The result is a signature sound of plaintive, squalling guitar amid skittery rhythms, fostering intimacy and personal reflection.

Influences and evolution

The Durutti Column's musical style was profoundly shaped by Vini Reilly's eclectic influences, including , folk, and , which informed his fluid, emotive guitar phrasing and the project's emphasis on atmospheric textures over conventional song structures. Reilly's technique, often described as spectral and fragile, prioritized clean, resonant tones achieved through fingerpicking and subtle effects, diverging from the abrasive guitar norms of contemporaneous acts. These elements were amplified by producer Martin Hannett's production approach at , which introduced echo, reverb, and sparse arrangements to evoke introspection and space, as heard in early recordings featuring tape loops and minimal percussion. The band's evolution began in 1978 amid Manchester's punk scene, with Reilly emerging from the short-lived punk outfit Fast Breeder, but swiftly pivoting toward experimentation on the 1980 debut The Return of the Durutti Column, characterized by lo-fi, home-recorded guitar sketches that presaged bedroom aesthetics. By 1981's LC, Reilly refined a intimacy through four-track recordings, incorporating jazz-inflected while retaining folk-like melodic simplicity; subsequent releases like Without Mercy (1981) deepened this with Hannett's cavernous soundscapes, blending acoustic warmth and subtle dissonance. Through the 1980s era, the style stabilized around Reilly's solo guitar dominance, occasionally augmented by collaborators like drummer Bruce Mitchell, yielding albums such as (1983) that explored repetitive motifs and ambient drift without vocals. Post-1992, after Factory's collapse, the project's trajectory incorporated broader electronic and synth elements, evident in Grace (1996), which fused Reilly's guitar with ambient layers for a more polished, nocturnal vibe. This phase reflected Reilly's adaptive resilience amid personal challenges, including health issues, yet preserved core tenets of restraint and emotional directness; later works, such as those into the 2010s, revisited archival material and live improvisations, influencing subsequent genres like through atmospheric precedents. By 2023, Reilly announced a partial after six decades, underscoring a legacy of stylistic consistency amid incremental sonic expansions.

Discography

Studio albums

The Durutti Column's debut studio album, The Return of the Durutti Column, was released in 1980 on (FAC 13), featuring sparse, atmospheric guitar instrumentals produced by . This was followed by LC in 1981 (FAC 30), noted for its minimalist compositions emphasizing Reilly's prepared guitar techniques. appeared in 1983 (FAC 94), incorporating subtle percussion and expanded sonic textures. Without Mercy (also subtitled Love and Hate Are One and the Same), released in 1984 (FAC 114), marked a shift toward more structured arrangements with occasional vocal elements. Circuses and Bread (subtitled Minority Report) came out in 1986 (FAC 174), blending ambient soundscapes with rhythmic elements. Following ' financial collapse in 1992, Reilly continued releasing studio albums on independent labels. Dry was issued in 1991 on Materiali Sonori, featuring Reilly's solo guitar explorations recorded in . , a self-titled effort emphasizing intimate, loop-based guitar work, followed in 1993 on Les Disques du Crépuscule. Later releases include Fidelity (2009), which incorporated electronic elements and guest contributions. Subsequent albums such as A Paean to Wilson (2010), dedicated to Factory founder , and Short Stories for Pauline (2012) maintained Reilly's signature instrumental focus amid lineup variations.
TitleYearLabel
The Return of the Durutti Column1980Factory Records
LC1981Factory Records
Another Setting1983Factory Records
Without Mercy1984Factory Records
Circuses and Bread1986Factory Records
Dry1991Materiali Sonori
Vini Reilly1993Les Disques du Crépuscule
Fidelity2009Factory Benelux

Singles, compilations, and live releases

The Durutti Column issued a modest number of singles and EPs, mostly during their early years with Factory Records. Notable releases include the double A-side single "Sketch for Summer" / "Sketch for Winter" in July 1981 on Factory Records (SFA 491), featuring Reilly's signature guitar sketches. Another early single, simply titled "The Durutti Column Single," appeared in 1981, containing tracks like "For Belgian Friends" and "Conduct." Later EPs such as "Tomorrow" (1988, Factory Benelux FBN 51) and contributions to samplers like A Factory Sample (1978, FAC 2) with "Sketch for Dawn" marked their sparse but influential 7-inch output. Compilations have preserved and repackaged the band's material, often focusing on Factory-era work or rarities. "Lips That Would Kiss" (1991, Factory Too/London) collected early singles and outtakes from 1978–1981. "Four Factory Records" (1990s box set) compiled the first four studio albums with additional discs of non-album tracks. Post-Factory anthologies include "Time Was Gigantic... When We Were Kids" (1998), drawing from 1980s sessions, and "M24J (Anthology)" (2018, Factory Benelux), spanning career highlights. "The Best of the Durutti Column" aggregates key tracks across eras. These releases, often on labels like Les Disques du Crépuscule or Kooky, highlight Reilly's evolving style without introducing new recordings. Live releases are rare, reflecting the project's studio-centric focus, but capture Reilly's performances with collaborators. "Live at the Venue" (1982, Factory FAC 133), recorded in , documents an early lineup with drumming by Chris Ott and violin by John Duerden; it was remastered and reissued on vinyl with CD in later editions. "Live in Bruxelles 13.8.1981" (2008 release of 1981 ) features acoustic and ambient sets. Bonus live material appears in expanded editions, such as WOMAD Live tracks accompanying "Vini Reilly" (1989/ remastered) and a DVD of "Live from 1988" in the 2024 35th anniversary box set. These recordings emphasize Reilly's improvisational guitar amid minimal percussion, consistent with the band's ethereal sound.

Reception

Critical assessments and achievements

The Durutti Column's debut album LC (1979) received acclaim for its innovative packaging, featuring a sleeve designed by to "scuff" adjacent records, symbolizing the project's abrasive yet delicate aesthetic. Critics highlighted Vini Reilly's fluid, melodic guitar instrumentals as light, fresh, and influential in post-punk's ambient fringes. The group's early work distinguished itself from contemporaries through Reilly's spectral style, pairing fragility with emotional depth, as noted in assessments of their tenure. Subsequent albums like (1989) garnered praise as a definitive statement of Reilly's compositional prowess, blending classical acoustics with inventive electric melodies to create haunting, hypnotic soundscapes. Reviewers have lauded Reilly's guitar technique—often understated yet affecting—for its widespread influence on ambient and , with the project credited for pioneering ethereal guitar textures. described elements in later releases like Time Was Gigantic… When We Were Kids (2023) as unusually textured, incorporating string synths and rhythms that elevate Reilly's silvery guitar lines beyond typical fare. Achievements include the band's status as Factory Records' inaugural signing in 1978, predating major acts like and setting a template for the label's ethos. Over four decades, The Durutti Column produced nearly 40 albums, demonstrating sustained creative output under Reilly's leadership. The project's enduring legacy manifests in reissues, such as the 2024 35th-anniversary edition of Vini Reilly, which remasters the original with bonus tracks and underscores its lasting appeal. Reilly himself has been hailed as "the best in the world" by observers, reflecting peer recognition for his 60-year career marked by collaborations and a hermit-like dedication to evolving soundscapes. Influences extend to contemporary artists, with Reilly's work cited in modern productions for its melodic subtlety.

Criticisms and commercial limitations

The Durutti Column's music, characterized by its minimalist and experimental approach, garnered a but consistently faced commercial barriers, with no albums achieving significant chart positions or widespread sales. Releases on , including early works like The Return of the Durutti Column (1979), remained confined to underground circuits, with later efforts such as A Showcase of Durutti Column () recording only about a dozen initial sales at major retailers like . The label's in 1992 exacerbated these limitations by disrupting distribution networks and leaving unresolved royalty issues for artists like . By 2013, Reilly's financial distress—stemming from decades of modest earnings—prompted public appeals from fans and family, underscoring the project's inability to generate sustainable income despite over 20 albums produced. Critics occasionally highlighted technical shortcomings in production that hindered accessibility, such as the low-volume mastering and "rotten" sound quality of (1983), originally pressed on substandard vinyl, which diminished its impact upon release. Factory founder voiced disappointment with the album's flat audio, noting it failed to capture Reilly's vision effectively. Some reviewers pointed to the band's deliberate rejection of conventional structures—eschewing rhythmic drive and vocal emphasis for ambient guitar explorations—as a factor in its marginal appeal, with one assessment describing efforts to "break with whatever structure supports of musical formalism" as innovative yet alienating to broader audiences. These elements contributed to a of the project as influential but commercially unviable, with Reilly himself acknowledging in interviews the absence of pursuits toward major-label deals or pop-oriented shifts, prioritizing artistic integrity over market viability. Later attempts at more structured pop elements, as in (1979 reissues and related works), introduced subtle commercial tweaks but still yielded limited returns, reinforcing the niche status.

References

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