Classical punk, anyone?
No, that's not a typo. That is the best description I could come up with for the music on this album: classical punk. Like all good punk-minded bands, the Column's album one/side one/track one leadoff is possibly its definitive moment: the thump-n-go catchiness of the Vini and Martin duet (Martin on drum machine, of course) "Sketch For Summer" is irrresistable. Reilly introduces his forte: 'Hey I play a dern catchy guitar!' And truly, it's a pop song. No vocals, just a catchy-ass tune. That guitar tone, to my ears, is the most perfect sound ever. If all guitars sounded like that, forever and ever, I would not complain one bit. And that's the funny thing: there is not a hint of distortion or dissonance on this entire album. And that's what makes it one of the most punk rock things ever: In all the loudness and anger of the Manchester punk and post-punk scene that inspired it, this album is completely and, perhaps aggressively, restrained and quiet. A good portion of the album is just solo guitar. And that guitar is played, tuned, and effected about... oh, let's say... ten years ahead of its time. Everything here is so catchy, it's ridiculous. So, while a song like "Conduct" may go through 'movements' like a piece of classical music, it's melodicism evokes the spirit of punk, in that it takes rock and roll back to its roots by just being flat out likeable and serving a much needed adrenaline shot. While Vini's riffs sound like certain things at times —a classical reference here, a blues riff there— it's all brilliantly filtered through a punk mindset and it makes for the beginning (pun recognized, but not intended) of one of the most unique —and, let's face it— best guitarists of our time. Aboslutely nothing sounded like it at the time. To say that it served its purpose as a wake up call to the quickly-dying punk scene would be an understatement. Try to catch the reissue on the Factory Once label; the added bonus tracks only enhance to the experience.
~Austin
In which, this Durutti thing becomes official.
For all its wonders and satisfactions, the first album felt like, essentially, a curiosity. Lke Vini and Martin Hannett wandered into a studio one weekend and goofed around until they had an album's worth of material. This album, the next Durutti effort, finds no involvement from Hannett and Vini working with his newly discovered (and musical equal/perfectly complimentary match) drummer, Bruce Mitchell. The guitar tones are perfected and, for the first time, the signature Durutti sound is in place. Just twenty seconds into the album's first track, the captivating "Sketch for Dawn I", and you'll be taken directly into a world where Vini and Bruce just sit around and bounce musical ideas off each other for hours. And overdubbed piano seals the deal and we're set for arguably the Column's best album (get ready to read that phrase several times over the course of this page). One of the band's finest moments pops up on track three with "Jaqueline", one of many Reilly compositions dedicated to a female friend. It follows in his already well-established tradition of a jubilant guitar and drums instrumental that is just so catchy, so well thought out and understated enough to make it a definitive moment. The next track is "Messidor" which is one of those album cuts that you'd swear is just too damn good to not be a hit. And that's par for the course of this album: everything here is just great. Both a refinement of the first album's rough edges and the perfect logical progression. The one big thing that happens on this album: Vini starts to sing. Granted, not on every track. But he's there. And his vocals are a line in the sand for Durutti fans. Love it or hate it, the guy does sing. I —a big fan of his vocals actually; mostly for his words, which are quite poignant at times and always heartfelt— will even admit that he has an awful singing voice. But it somehow fits into this awkward musical stew that is the Durutti Column. Again, track down the Factory Once reissue with bonus tracks; the extra materials are essential. A lot of things serrendipitously begin with this album: new age, shoegaze, trip hop, dream pop and probably many others. Absolutely wonderful, incredibly timeless music.
~Austin
Treading water in a glorious pond.
Actually, the most produced and un-Durutti thing yet. However, it is still undeniably a Durutti album. Funny that, the first track, "Prayer", features minimal guitar, if any at all. Instead, it's a feature for Vini's newly discovered fascination with the Fender rhodes electric piano. The thing would become a staple of Durutti's 80's reperetoire on this album in one fell swoop. And while the album does feature the keyboards in a commandeering role, there is still enough of Vini's trademark guitar to satisfy any longtime fan. It's just accompanied by a little keyboard, that's all. The album does feel a little repetitive towards the end, but then you'll realize that it's just not a big deal at all because the guy sounds like nobody else; now or then. It's ok. It really is. How can you not like this album? More produced, but so what? It's not schlocky, like he would come to be in a couple year's time. For now, the guy sounds like he's in a zone of creative fertility. So, redundant or not, it's still essential. Whoo, I like this one.
~Austin
Back to basics. Perhaps a collection of LC outtakes?
Part of a botched deal to introduce the Column to a Portugese audience, this album was not originally released on Factory (although a good portion of it did surface on the Factory Once reissue of Another Setting). It's actually a really good little record for lovers of LC, like myself. Bruce is on about half the tracks and Vini sings here there, but mostly it's Durutti guitar instrumental heaven. Lots of Latin and Flamenco overtones in the playing (which would become a Durutti staple, soon enough), which is a good setting for Vini because it allows him to really indulge in his romanticism. Overall, even though Tony Wilson went on and on about how he got seriously financially screwed over the album's release through the years, it does feel like a collection of LC and Another Setting outtakes and demos (in fact, two different tracks, titled "Menina Ao Pe Duma Piscina" and "Sara E Tristana" have the exact same drum machine backing track, like Vini was playing around with different songs). It's a nice little piece for fans of the band's early days, but is dang hard to track down (in fact, most recent CD resiisues of the album are mastered from the cleanest vinyl copy that could be tracked down — not without its pops and hiss!).
~Austin
An attempt at actual classical music.
~Austin
