collaborator and driving force behind McDermott's Two Hours) is a determinedly unplugged set of self-penned songs that invokes. His frames his haunted dirges of solitude and guilt with spare guitar, drums, bass and violin, often evocative of the early minimalist work of Roxy Music and the lugubrious Ferry on albums such as Siren and surprisingly more textured than their simple structures initially appear. Other musicians get a look-in too, albeit in strictly subsidiary or accompanimental roles (bodhrán Francis Thoma on the set of slides; piano either Paul Brady or Philip Beglis - on Andy McGann's Reel for instance).
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An absolutely masterly set and so what if a few numbers are revisits of stuff Duck's recorded before on long-deleted or obscure vinyl LPs, for they all come up totally fresh here. A Theoretical Diagram in an Empty Classroom Jeff Wall's Picture wwi propaganda essays for Women". This Country Rock has Jimmie in strong vocal mood and although I expected more guitar fills, the short guitar solo is fine. Veering off into Renaissance guitar territory, Bertie is the one most likely to irritate, a madrigal-like twee paean to her son the, er, 'lovely lovely lovely lovely Bertie' who brings her 'so much joy'. It must have been recorded live in the studio because John Playford's Secret Ball is as spirited and immediate as if they were playing in your room whilst sharing a pint or two with you (check out track 14!).
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