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Skeletal Family

Vini Reilly is the public face of The Durutti Column, the first signing to Tony Wilson’s nascent Factory Records way back in 1978. Forever pasty-faced and ill-looking, he’s as wiry and fragile as the high ‘e’ string on his guitar, and on the rare occasion when this Wythenshaw will o’ the wisp pops his head out in public, he’s quietly spoken and totally intense. Clearly, he prefers his music to do the talking.

The Durutti Column’s first album, The Return of the Durutti Column was produced by Factory in-house knob-twiddling hedonist Martin Hannett on clear instruction from Reilly that he didn’t want ‘the usual, horrible distorted guitar sound.‘ What followed was a heady mix of chiming beauty, pastoral fragility and neo-classical intensity. All instrumental, and almost all featuring only layers of Reilly guitar, with the odd rudimentary skittering drum machine or piano part, the music is almost as revolutionary as the Spanish Situationists from whence Tony Wilson christened Vini’s band’s name. The music isn’t ‘rock’ or ‘post-punk’ or ‘jazz’ or any other obvious genre. It would be a huge disservice to lump it as (gads) ‘chill-out music’, but to these ears, in the same way that you could categorise someone like the Cocteau Twins, that is essentially what the music of The Durutti Column is. In later years, Tony Wilson would tell anyone who listened that at the end of a night at the Hacienda, he’d spark up a large one and mellow the wee hours away with The Durutti Column playing in the background. Vini’s music is perfect for this.

In one of the first great Factory marketing moments, The Return of the Durutti Column came packaged in a sandpaper-covered outer sleeve, intentionally designed to destroy any record sleeves you might have been careless enough to file besides it. If you happen to have one of those original LPs you may be interested to know that it was the four members of Joy Division who stuck the sandpaper onto each and every cardboard sleeve. I’m sure any decent policeman worth his salt could do some sort of DNA test to it if you asked- you might be sitting on a Curtis there! Or a Hook. (No luck).

Reilly was asked to produce Happy Mondays’ Freaky Dancing single, a choice that may have made sense musically, but personality-wise was a disaster. As Shaun Ryder says in his autobiography, “We initially tried recording with Vini Reilly but that only lasted about two hours before he decided he couldn’t handle us. I like Vini, and he’s a great guitarist, but he’s a bit of a weird one and everyone knows he’s a bit fragile. He once told everyone that I’d spiked him at the Hacienda, and the next morning I got phone calls from Wilson and other people at Factory having a go at me, saying stuff like, ‘Why did you do that to poor Vini? You know what he’s like,’ when I hadn’t even fucking done anything. It was all in his mind.

To quote Reilly – “I simply couldn’t work with them.”

A real musicians’ musician, he’s perhaps best-known for filling the substantial (desert) boots of Johnny Marr when The Smiths imploded. For the briefest of very brief moments, The Smiths looked like carrying on, until Morrissey decided otherwise. He instead roped Reilly in to play guitar on Viva Hate and, by chanelling his inner Marr, helped Morrissey’s solo career off to a flying start. But that’s a story for another day.

Durutti ColumnSketch For Summer

Durutti ColumnSketch For Winter

MorrisseyMargaret on the Guillotine

This post was all ready to go and then…

…my old pal DW put me onto Land Observations. “You’ll like them,” he said. “It’s just one guy and his guitar. No singing. It’s a bit motorik, a bit Krauty, with that sort of Michael Rother feel to it.” I quick listen on iTunes and I bought it….and I never buy anything from iTunes. But I had to have it there and then. And for the past week or so it’s been something of a constant on  the iPod. Motorik, krauty and sort of Michael Rother-ish, just as I was told. (A Soundcloud player should appear below. Please let me know if it doesn’t. It’s been a major headache trying to install it for some reason.)

It’s a concept album of sorts (hippies! prog-rock!), but stick with it. Loosely based on the journeys made along the Roman Roads of Britain, it’s the companion piece to an EP released last year. Unbelievably, given my instant love of the LP, I’ve still to buy the EP, but I will. The album, Roman Roads IV – XI, reminds me greatly of The Durutti Column – one guy who lets his guitar do the talking, no fancy pants widdly solos, just layered, textured, skeletal music that you can listen to, that makes you want to listen to it. And it sounds great through headphones. It’s currently at Number 3 in my ‘Favourite LPs of the Year’ list and climbing. Land Observations, folks. You’ll like them.

3 thoughts on “Skeletal Family”

  1. he’s from NZ and an offshoot of the kiwi indie juggernaut, but sounds nothing like the rest of that scene. atmospheric instrumental compositions for multilayered guitar mostly home-recorded on a tascam 4-track in the 90s. the tag he often gets is “psychedelic” but I was surprised when I first heard his stuff that “psychedelic” in this case apparently just means “riffs influenced by jorma kaukonen” rather than any kind of broader definition.

    also in this vein: mark mcguire, former guitarist for ohio sequencer-synth band emeralds, but his work is really hit or miss. so is montgomery’s, actually.

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