Differing from the other reissues, this one collects a slew of singles and b-side tracks that were recorded in the band's early days from 1980 to 1983 for the legendary labels Factory Benelux, Les Disques deu Crepuscule and Sordide Sentimental. Although the tracks span four years, there still a sense of cohesion to Vini Reilly's delicate chamber pop (mostly) instrumentals, all of which still seem timeless.
LTM
The Durutti Column remains somewhat outcast in the entire Factory legacy, perhaps because they stayed active longer than their contemporaries. Or perhaps it is because they never took on the abrasion of Cabaret Voltaire, the Ecstasy fueled dance rock of New Order or the pure buffoonery of the Happy Mondays. Instead, they were content to make their delicate pop instrumentals that are perfect for bedrooms on gray afternoons or a quiet gathering of friends.
The disc's centerpiece, the "Lips that Would Kiss"/"Madeleine" single appears near the beginning of the disc and with the production of Martin Hannett sounds not dated in the slightest and remains a beautiful slab of gentle, jazz influenced instrumental pop. In a comparison that probably only makes sense to me, tracks like "Zinni" are like the anti-Suicide: though both of them feature heavily on keyboards and chintzy drum machines, but instead of the agitation of Rev/Vega, it is gentle and beautiful worlds here.
Most of these tracks stay focused on Reilly's gentle, vaguely jazz influenced guitar playing over lush synths and sometimes ancient analog drum machines, such as on "Experiment in Fifth," and occasionally live drumming, like on the vocal based "Take Some Time Out," which sounds like it was well treated by the reverb loving hands of Martin Hannett, as does the drums on "The Sea Wall," which could have been lifted directly out of Joy Division's Closer if it weren't for the strings and careful guitar playing and complete lack of looming catastrophe.
The closing "Piece for Out Of Tune Grand Piano" is one of the more odd tracks out here, consisting of nearly 13 minutes of exactly that: solo piano work on an out of tune piano. If nothing else, it shows Vini's proficiency at that instrument as well as the remainder of the disc stresses his guitar ability. In that regard it definitely stands out on its own both in its restraint and simplicity, but in no way lacks the beauty of the remaining pieces.
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