At the end of July, the Durutti Column will release their first new music in 16 years: the stunningly beautiful Renascent. It’s a prime time for Vini Reilly, Bruce Mitchell and Keir Stewart to return as the Durutti influence is everywhere: sampled by Blood Orange on his latest album Essex Honey; cited by Harry Styles on his new LP Kiss All the Time. Disco, Occasionally, as well as by Mark William Lewis and Yung Lean; played on The Bear.
Not that the group need the endorsements: since 1978, they have been one of the UK’s most distinctive acts, their dreamy instrumentals offering a sunlit alternative to the crags of post-punk, as last year’s reissue of their debut, The Return of the Durutti Column reminded us. The record’s deviation from the norms of the era, wrote Alexis Petridis in a five-star reappraisal, “ultimately worked in its favour: other than the sound of the primitive rhythm tracks, there’s nothing to tie the music here to a specific era, which means it hasn’t dated.”
You can ask Reilly about being the first act to sign to Factory Records, having that debut album compiled against his will by producer Martin Hannett, working with Morrissey, learning to play guitar again after suffering a stroke, and quite how this new album came about. “I’ve got a good excuse to stop now because I’ve got arthritis,” he told us in 2023 – yet here we are, with as gorgeous a record as they’ve ever made.
Post your questions in the comments by the end of 23 June and the best answers will appear on Guardian music soon.
