The Return of The Durutti Column

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There are three basic responses to a piece of music - physical, intellectual and emotional. I try and incorporate each of them into my pieces, and at the same time try to be new and experimental. I don't know whether I succeed or not. I think what I'm churning out most of the time is trash. There's an odd spark occasionally which seems to work, more often than not by accident. So I get quite depressed about it sometimes, because I never know whether it's any good or not. It's not modern classical, no, because the phrase classical implies something that isn't in my music."

In truth, Vini's occasional vocals mesh well with the melancholy mood of his music, besides which flawed vocals became something of a Factory trademark. There is irony, also, in the title of the album, since LC stands for Lotta Continua, meaning 'the struggle continues' in Latin. Wilson claimed to have glimpsed it as wall graffiti in a television documentary on ancient Rome made by Anthony Burgess. Perhaps, but Lotta Continua was also the name of a far-left Italian political group active between 1969 and 1976 with a taste for 'spontaneous action'. Either way, oblique allusions to struggle seem misplaced, since the second Durutti album sounds effortless. Sketch for Summer was made up in the studio because Martin managed to get these bird noises on the synthesizer,' remembers Reilly. Willem van Spronsen, an American anarchist who was killed in 2019 while trying to disable a fleet of buses operated by U.S. Immigration and Customs Enforcement (ICE) for mass deportation, used Durruti's surname as a part of his alias. [17] [18] Gallery [ edit ]

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, a double 7" compilation also featuring Joy Division, John Dowie and Cabaret Voltaire. [3] On the eve of recording a debut album, the band broke up after a dispute about Wilson and Erasmus's choice of producer, Martin Hannett. [3] Rowbotham, Bowers and Joyce went on to form The Mothmen (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. [3] Comotto, Agustín (2022). The Weight of the Stars: The Life of Anarchist Octavio Alberola. AK Press. ISBN 978-1-84935-409-7. Even as Reilly’s tone retained its unique character, his music evolved in significant ways over the years. Moving on from his minimalist origins, he folded in harp, strings, and cor anglais before experimenting with drum machines and samplers. Some of the vocal loops on 1989’s Vini Reilly anticipate Moby’s Play, while 1990’s Obey the Time was in conversation with acid house. By 1996’s Fidelity, he was citing the influence of UK rave duo Orbital. With 1998’s Time Was Gigantic… When We Were Kids—newly remastered and reissued with five additional songs—Reilly made a subtle but unmistakable shift toward pop music, due in large part to the vocal contributions of a singer named Eley Rudge.

When you think of 80s Manchester you tend to imagine the dark post-punk synths of Joy Division and the proto-acid-rave music of the Happy Mondays. Not the instrumental etherealism of The Durutti Column. a b c d e f Colin Larkin, ed. (1992). The Guinness Encyclopedia of Popular Music (Firsted.). Guinness Publishing. p.750/1. ISBN 0-85112-939-0.

The music ends up being very simple," Vini told NME. "People can dismiss it as being very simplistic, easy listening or whatever. It's very honest, it's very personal. People say it's ambient, and it's like Eno. I don't like that, because the music's made to be listened to, it's not wallpaper."

The Durutti Column are an English post-punk band formed in 1978 in Manchester, England. [2] The band is a project of guitarist and occasional pianist Vini Reilly who is often accompanied by Bruce Mitchell on drums and Keir Stewart on bass, keyboards and harmonica. They were among the first acts signed to Factory Records by label founder Tony Wilson.Durruti and his companions returned to Spain and Barcelona, becoming an influential militant group within two of the largest anarchist organizations in Spain at the time, the Federación Anarquista Ibérica (FAI), and of the anarcho-syndicalist trade union Confederación Nacional del Trabajo (CNT). The influence Durruti's group gained inside the CNT caused a split, with a reformist faction under Ángel Pestaña leaving in 1931 and subsequently forming the Syndicalist Party. Sometimes less is more The first release by The Durutti Column is the first not to be made up of the original band members. All of whom left with the exception of the outstanding Vini Reilly. Unlike earlier material like what was recorded for the Factory Sample, The Return Of The Durutti Column is a minimalistic precious piece of artwork. Drawing inspiration from the correct minds. Peter Saville designed both sleeves. Most notoriously the sandpaper sleeve based on the book Memories by Guy Debord. Classic move by the forerunners at Factory. Second is Martin Hannett's impeccable production. Providing Reilly with a unique guitar sound that no one else can say they have used before or after. First released in January 1980 in a sandpaper sleeve, assembled by members of Joy Division, A Certain Ratio, and others. While Ian Curtis did the glueing, the other members of Joy Division watched a porn movie in the same room.