Review by Marco Sabatini: The Durutti Column - The Return of Durutti Column

 Marco Sabatini

Musicshockworld

Offagna

14 March 2026

Wythenshawe, a district of Manchester: in July 1977, a spark was ignited that would, musically speaking, set off a series of significant fires.

The Nosebleeds were formed: the brainchild of a maverick named Ed Garrity, later known as Edweena Banger, who passed away just a year ago.

It may seem incredible, but Vini Reilly was on guitar; they recorded a single in pure punk style, ‘Ain’t Been to No Music School’, which would be hailed as seminal, indeed a classic of the genre.

The same band would later include, as temporary, passing members, Steven Patrick Morrissey and Billy Duffy, but that is another story.

We follow Vini’s journey, which intersects with that of the fledgling Factory Records label when Tony Wilson signed him in 1978, and the Durutti Column appeared on the famous double 7-inch EP, “A Factory Sample”, which also featured Joy Division and Cabaret Voltaire (Fac-2).

A year later, Martin Hannett’s contribution as producer and sound designer proved crucial, with Vini Reilly ready to make his debut with the band’s first album; of the band that Tony Wilson, his great admirer, had put together, practically only he remained, with his guitar.

"The Return of Durutti Column" is a title that references Situationism, and the cover – the best-known of the four versions, made of sandpaper – was a tribute to an idea by Guy Debord. Literature and philosophy provide the backdrop to this musical debut. 

A few months earlier, *Unknown Pleasures* had been released: Ian Curtis and Vini were friends, and just think of the thread linking Joy Division’s dark debut album with DC’s gritty debut. Both held out a promise: unknown pleasures (the former) and the return of a mysterious entity (the latter).

This was the Factory, Manchester’s avant-garde setting out to conquer the world – a brilliant idea that went sour within a few years, becoming little more than a factory churning out dance remixes for the Hacienda.

But the city wasn’t just about the Factory back then; in March, Magazine’s second album had been released, blending post-punk, art rock and progressive influences.

I wouldn’t mind hearing a few of Vini’s Fender riffs on an album, specifically on “Second Hand Daylight”, which, compared to the first “Real Life”, prioritised atmosphere over energy. 

But let’s come back down to earth and pick up the vinyl in question.

It consists of nine tracks, just over 28 minutes in total, enough time to take in the lost souls, those seeking something poetic and profound, something that makes you think and not just feel.

The birds chirp, the electronic drums kick in, and the first notes of “Sketch for Summer” arrive.

And you realise straight away that he doesn’t use his voice; there’s no need, because his guitar textures demand the full attention.

On bass is Pete Crooks, who really comes into his own almost exclusively on the sixth track, “Jazz”, which also features Toby Toman on drums.

The sound engineering is superb on an album that unfolds at a measured, unhurried pace, evoking images, sketches, watercolours, muted tones, echoes and reflections on the water’s surface.

It feels like being with children in the park…

"Beginning" plays hide-and-seek with the opening track, then come "Sketch for Winter" and "Collette", everyone painting their faces with sponges and paint. The production is so-so; the sound quality isn’t top-notch, but the die is cast: in Manchester, the register records a new name: Durutti Column. 

This album, *The Return of Durutti Column*, released in January 1980, marked the arrival on the scene of someone destined to remain there for a very long time, playing the part of the splendid outsider, lending himself to misunderstandings of every kind (ambient music, a guru of who-knows-what), without ever losing his humanity.

That misrepresentation of a hero of the Spanish Civil War and his brigade would fulfil their task to the full.

"There was a boy

Made me feel good

Leaving some signs

Now a Legend" 

Vincent "Vini" Reilly, for Ian Curtis.