Vini Reilly's command of the ethereal remains a joy to behold. This, his 16th Durutti album, is as measured and moving as its predecessor, 2003's Someone Else's Party. Aside from Jill Taylor's harmonies on "Shooting" and Gerard Keaney's lyrics for "The Man Who Knows", it's all Vini: inspired guitar-plucking and the gentlest of voices. That it sounds both fluidly organic and intimate (you can hear every fretboard squawk and scratch) is a testament to his unique mapping of the nocturnal spirit.
Vini Reilly’s command of the ethereal remains a joy to behold. This, his 16th Durutti album, is as measured and moving as its predecessor, 2003’s Someone Else’s Party. Aside from Jill Taylor’s harmonies on “Shooting” and Gerard Keaney’s lyrics for “The Man Who Knows”, it’s all Vini: inspired guitar-plucking and the gentlest of voices. That it sounds both fluidly organic and intimate (you can hear every fretboard squawk and scratch) is a testament to his unique mapping of the nocturnal spirit.
