For all that the previous album was called
Vini Reilly,
Obey the Time was in fact
Durutti's most specifically
Reilly-only release yet. Even percussion stalwart
Mitchell only appeared on one track this time around, the fine, subtly uplifting punch of
"Art and Freight," partially due to where
Reilly's head was at this time around. Inspired by the late-'80s
acid house revolution in England, with his native Manchester firmly at ground zero,
Reilly aimed to combine that with his usual guitar approach to see what would happen. Where in nearly any other hands this would have been a pathetic crossover disaster waiting to happen, the end results are gratifyingly like what his compatriots in
New Order did the previous year with
Technique, synthesizing up-to-date styles to create something distinctly different. Even a title like
"Spanish Reggae," which sounds like something out of
world music hell, turns out to be both accurate and not a nightmare, with light
flamenco snippets and other electric guitar work from
Reilly fed through heavy dub echo over a slow, just menacing enough modern
dancehall rhythm. While most of the percussion patterns
Reilly creates aren't specifically
acid in sound, reflecting more hard-slamming
electro and
synth-funk from earlier years, there's enough of the cusp-of-the-'90s about everything to show he wasn't dating himself. Keyboard stabs, as on
"Fridays," clearly show
techno's favoring of stuttering, choppy melodies, while
Reilly's own knack for what suits a song best means sometimes it's more gentle
acoustica and other times full-on electric shimmer and drive.
"Hotel of the Lake, 1990" demonstrates his skills well, with a steady beat and clean, funky guitar and bass work accompanied by whooshing, minimal synth loops and, reappearing throughout the song, a classically
Durutti five-note guitar melody with deep echo. Other numbers like the gently dramatic
"The Warmest Rain" make
Obey the Time another fine
Durutti release. The 1998 reissue includes a 1990 dance mix by
Together and, in an interesting discographical switcheroo, a moody
jungle remix of
"My Last Kiss" from 1998's
Time Was...Gigantic album called, in a knowing nod to
New Order's
"The Perfect Kiss," "Kiss of Def." ~ Ned Raggett
