

Many of the pieces are instrumentals played on his Juan Montero flamenco guitar, and he returns to 'Without Mercy' for the last track 'Grief' whilst reinventing 'Never Known' from LC. Here he created some sparse, simply beautiful 'sketches' as he once called them, more reminiscent of his work from the early eighties. Originally released in June 2008, Sunlight to Blue… was a conscious response to the previous two polished and ‘studio-based’ releases.

~ Ned Raggett.“Sunlight to blue … Blue to blackness” - This was one of the more upbeat title suggestions for the very bare, back to basics, reflective album from The Durutti Column. Two are actually solo synth pieces from the sessions, but others include an initial tribute to 's Ian Curtis, 'Lips That Would Kiss,' and 'Sleep Will Come,' featuring the group's first vocal performance thanks to A Certain Ratio member Jeremy Kerr. The 1996 reissue is the edition to search for, containing six excellent bonus tracks. Consider the relentless rhythm box pulse on 'Requiem for a Father,' upfront but not overbearing as Reilly's filigrees and softly spiraling arpeggios unfold in the mix - but equally appealing is 'Sketch for Winter,' Reilly's guitar and nothing more, a softly haunting piece living up to its name. 's production gave his compositions a just-mysterious-enough sheen, with Reilly's touches on everything from surfy reverb to soft chiming turned at once alien and still warm. The Durutti Column - The Return of the Durutti Column (1980) (Full Album) - Duration: 48:17. The Durutti Column - Sketch For Summer:: The Return of the Durutti Column, Factory Records (Factory Once reissue).

The Durutti Column - Sketch For Summer:: The Return of the Durutti Column, Factory RecordsPost RockIts AlwaysThe AmazingAlbum CoversManchesterColumnsFactoriesTrack. 'Conduct,' with its just apparent enough key hook surrounded by interwoven, competing lines, is a standout, turning halfway through into a downright anthemic full-band rise while never being overbearing. Embracing electric guitar's possibilities rather than acoustic's, Reilly fused a variety of traditions effortlessly - that one song was called 'Jazz' could be called a giveaway, but the free-flowing shimmers and moods always revolve around central melodies. Eschewing formal 'rock' composition and delivery - the album was entirely instrumental, favoring delicacy and understated invention instead of singalong brashness - Reilly made his mark as the most unique, distinct guitarist from Britain since Bert Jansch. With heavy involvement from producer, who created all the synth pieces on the record as well as producing it, Reilly on Return made a quietly stunning debut, as influential down the road as his labelmates in 's effort with Unknown Pleasures.

Released in the glow of post-punk fervor in late-'70s Manchester, one would think Return would consist of loud, aggressive sheet-metal feedback, but that's not the way Vini Reilly works. More debut albums should be so amusingly perverse with its titles - and there's the original vinyl sleeve, which consisted of sandpaper precisely so it would damage everything next to it in one's collection.
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