After some abortive collaborations, Reilly hooked up with a regular drummer, talented fellow Mancunian Bruce Mitchell, to create LC, Durutti's second full release.
John Metcalfe (born Wellington, New Zealand) is a British-based composer, arranger and violist, member of the Duke Quartet and a former member of the band the Durutti Column. Metcalfe's unique style is a result of his extensive experience in classical, pop and electronica. Early musical influences include opera (his father was an operatic tenor), the post-punk group Joy Division, and the avant-garde electronic band Kraftwerk. As a violist he co-founded the Duke Quartet which quickly developed a reputation as one of the UK's most exciting ensembles. The ensemble has released many CDs and tours worldwide. Metcalfe’s string arrangements played by the Dukes feature on many albums by pop artists including Morrissey, Simple Minds, The Pretenders, Catatonia and Blur. The commercial success of Metcalfe's first two albums of original music has led directly to several new commissions for TV and the concert hall…
To be fair, if you're into the Christmas standards, this LP is NOT for you. If, however, at any point in your life you painted your nails black and hung out at a goth club, you might be intrigued by some of the interesting, and occasionally ascerbic takes on Christmas here. This is a widely eclectic collection of musical styles, from Benedictine chant to angry industrial, with a lot of very strange stops in between.
Following the breakup of the Smiths, Morrissey needed to prove that he was a viable artist without Johnny Marr, and Viva Hate fulfilled that goal with grace. Working with producer Stephen Street and guitarist Vini Reilly (of the Durutti Column), Morrissey doesn't drastically depart from the sound of Strangeways, Here We Come, offering a selection of 12 jangling guitar pop sounds. One major concession is the presence of synthesizers – which is ironic, considering the Smiths' adamant opposition to keyboards – but neither the sound, nor Morrissey's wit, is diluted. And while the music is occasionally pedestrian, Morrissey compensates with a superb batch of lyrics, ranging from his conventional despair ("Little Man, What Now?," "I Don't Mind If You Forget Me") to the savage political tirade of "Margaret on a Guillotine." Nevertheless, the two masterstrokes on the album – the gorgeous "Everyday Is Like Sunday" and the infectious "Suedehead" – were previously singles, and both are on the compilation Bona Drag.