The Return of the Durutti Column Review

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. 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. With heavy involvement from producer Martin Hannett, 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 Joy Division's effort with Unknown Pleasures. 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. 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. "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. Hannett'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. 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. The 1996 reissue is the edition to search for, containing six excellent bonus tracks. Two are actually solo Hannett synth pieces from the sessions, but others include an initial tribute to Joy Division'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. by Ned Raggett

译：

与多数首专相比，《Return》趣味的名称不同寻常。同样的新奇之处出现在此专的原始黑胶唱片套上，磨砂的设计将导致放置在它周围的唱片受到损坏。

发行于70年代末的曼彻斯特，跟随着后朋克热潮，人们会认为《Return》将包含响亮，激进的金属片反馈，但这不是维尼赖利想达到的。在制作人马丁哈姆雷特的大力参与下，即制作了专辑中所有的合成器部分，赖利静静地完成了惊艳的登场。渐渐的，他和他在快乐小分队中合作《Unknown Pleasures》的伙伴一样初具影响。

远离正式的摇滚作曲和风格，专辑是素雅的纯器乐作品而不是随意的合唱，赖利也成为了自伯特扬施以来最为独特的英国吉他手。他揉入电吉他的可能性，写意地接纳着各色传统。哈姆雷特的制作赋予了恰到好处的神秘光感，而赖利对从波涛般的混响到铃声般的柔和等方方面面的掌控，使人只能在持续的温暖中觉察刹那的陌生实验气息。

随赠小曲"Jazz"，自由的流光和情绪不停围着中心旋律旋转；"Conduct"中构建了交织竞争的界限环绕在关键的钩钓上，使中途如圣歌一般的全频上升也不显鲁莽。"Requiem for a Father"中不间断的节奏盒脉冲透过金银丝般柔软的螺旋琶音在调制中展开而来，突出但不专横。摄人心魄的是"Sketch for Winter"，只有吉他轻轻萦绕，名副其实。

1996年的再版是值得探索的版本，包含六首优秀的额外曲目。其中两首实际上是伴奏中哈姆雷特的独奏合成器音乐，其他包括了对快乐小分队成员兰柯蒂斯的致敬，以及"Lips That Would Kiss"和"Sleep Will Come"，其中有杰里米所作的演唱。

摘自Allmusic。