Return Of The Durutti Column Rar [Extra Quality]
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"The Durutti Column return in streamlined form (in a sandpaper cover). One Vini Reilly is in charge, assisted by Martin 'Zero' Hannett on switchblade doctoring, funny noises, tape loop and 'free' plastic single. His new music is reflective, smooth and quiet. He bends, phases and duets ice blues into the bob and weave of chopped down cross currents; solitary melodies are picked through a sketchbook of recollections. The Return of the Durutti Column is perfectly realised, correctly ambient and inventive music; the beauty of it is that Vini Reilly offers it when he does and how he does. Maybe the punks will sneer and think it's hippy noodling, but the hippies probably won't dare to listen anyway" (NME, 01/1980)
In the meantime the Durutti Column returned to Brussels in August 1981 to play two live shows, the first an open-air concert on the Place de la Monnaie (Muntplein) on the 13th. This short set was recorded for radio broadcast, as was a lengthy interview with Vini after the show, also included on a later CD release by LTM. Durutti also performed another show in the city on 15 August, at a venue named Papaye Exotique. Most of the set comprised new 1981 material, including a rare outing for confessional vocal number Stains (Useless Body).
In February 1982 Vini returned to Europe to takeprt in an ambitious Crépuscule package tour, Dialogue North-South. Although Vini's health still limited touring, Durutti Column did perform in Amsterdam and Brussels, as well as performing their own headline show (with Alain Lefevre on drums) at Les Bains-Douches in Paris on 12 February. Crepuscule's multi-media jamboree also featured Paul Haig, Marine, The Names, Richard Jobson, Tuxedomoon, Antena and Isolation Ward, and was covered by writer Johnny Waller for British music weekly Sounds. Of Vini he observed: "Backstage all theprformers mill about casually, alternately unwinding after being onstage of preparing for the performance ahead, a can of beer or a comb in hand, a cigarette or a nervous joke on their lips. Vini Reilly looks in a permanent daze, even as you talk to him directly. As the Durutti Column he enjoys a degree of success, but all too often his mellow guitar exercises set to tape loops become overly soporific - especially in the Melkweg, where the smell of marijuana is literally stifling. But remembering his past illnesses it's a relief to hear him say "I'm well again" (even if the physical evidence doesn't corroborate that), "so I'm playing as much as I can now."
In the meantime, two lesser Durutti Column albums appeared in 1983. Live at the Venue was an official bootleg, released in June, and Amigos En Portugal a patchy collection of studio offcuts released by Fundacao Atlantica in November. The latter found space for yet another version of A Little Mercy, this time titled Nighttime Estoril. Thankfully the relationship between Crépuscule and Durutti Column survived the complications around Short Stories for Pauline, with the band returning to play at the Beursschouwburg in Brussels in November 1983, and taking part in a Musique Epave tour of Japan in April 1984 along with Mikado and Winston Tong. The next visit to Japan by Durutti Column, in April 1985, would result in a live CD album and laserdisc, Domo Arigato.
"Having dived into more familiar analogue territory for 1994's Sex and Death, here Vini Reilly transferred to Crepuscule for a slight return to the style of 1990's Obey the Time, which had found him exploring his native Manchester's contemporary electronic dance culture. This time Reilly was subtler, resulting in a lengthy collection that's aged considerably better. There are signs of the time, of course: shuddering vocal samples, alongside operatic melodies, decorate Abstract of Expression and his own voice, draped in reverb, is underpinned by a swaggering baggy beat on Remember Me. Sanko, meanwhile, dispensed with Reilly's trademark guitars in favour of skittering percussion and dreamy sequencers, while Eley Rudge's delicate vocals and those sequencers should have ensured Future Perfect's reputation of the early 00s chillout era. Rudge also softens the impact of the title track's battered drums, but the trumpet-embellished G&T displayed Reilly's Spanish influences more prominently. Overlooked at the time, Fidelity is hugely worthy of reinvestigation" (Classic Pop, 12/2019)
"The album also introduces Sammy Lou, our new vocalist. This istraditional Dislocation Dance, with a female voice dipping in and out of thealbum and sharing the lead vocals with me and Phil. It also marks a return to thedemocracy of early Dislocation Dance, with all the band contributing to thesound and writing of the songs." 2b1af7f3a8