A new album from the Durutti Column isn’t something most people would expect in 2026. The Manchester-based post-punk band began in the late 1970s and were among the first artists Tony Wilson signed to his highly influential Factory Records label. Through numerous personnel changes—with guitarist Vini Reilly as the band’s only consistent member—they churned out a unique blend of ambient soundscapes and dance rhythms, punctuated by Reilly’s clean, atmospheric guitar playing and influenced by jazz, folk, and classical music, later incorporating sampling and dance rhythms.
After a 2010 release, Reilly—once named “the best guitarist in the world” by John Frusciante of Red Hot Chili Peppers—suffered health problems that put his guitar playing in jeopardy, but fears of the group’s demise were put to rest in July with Renascent.
In 2010, the Durutti Column released A Paean to Wilson, a tribute to the Factory Records founder, who died in 2007. Reilly—who likely gained plenty of new fans in 1988 when he played guitar on Viva Hate, Morrissey’s first solo album—then suffered a total of three strokes in 2010 and 2011, which temporarily affected his playing. Still, he seems back to his old tricks, even though the album has a decidedly low-key ambient feel that focuses more on textures than intense musical gestures. In other words, while Reilly long ago established himself as one of post-punk’s unique instrumentalists, Renascent opens new doors as a beautiful mood piece.
In addition to Reilly on guitar, Renascent also features longtime band members Bruce Mitchell on drums and multi-instrumentalist Keir Stewart, who produced the LP. While the opening track “Echoes in the Memory” is but a brief, somewhat puzzling overture, Reilly’s playing begins to truly shine on “Your Shadow at Morning”, bursts of clean notes both amplified and acoustic, recalling jazz figures and gaunt electric blasts, while Stewart’s keyboard work is masterful and patient, meshing perfectly with the multiple guitars.
Contemporary artists as wide-ranging as Frank Ocean and Harry Styles have sung the Durutti Column’s praises, so it’s not surprising that Renascent also welcomes new generations, as singer-songwriter Caoilfhionn Rose contributes vocals to two tracks, the mysterious, ethereal “Agonistes” and the more traditional-sounding ballad “Sargasso Sea”, which prominently features piano that gives full access to Reilly’s moody Erik Satie influences. Reilly also contributes vocals on two other tracks: the loping, textured “Liars”, and the loose, spacey “Scammer”, the latter featuring more of a mumbled spoken-word performance that only adds to the gauzy mystery of the Durutti Column.
Renascent is also chock-full of inventive arrangements that invite more ways to describe this unique band’s sound. “For Friends Everywhere” takes cues from the repetitious majesty of Phillip Glass while incorporating jazz and classical leanings. The heavily treated guitar work on “Vapour in a Matchbox” harkens back to those early Factory days. Closing out the album (the CD/digital version only, not available in the vinyl release) is the melodically strong “All They See Is Fire”, featuring a vocal turn from Lucas Elliott, that wraps up the record with a great deal of emotional heft.
Renascent is a beautiful, moody gem that may not reach the level of Durutti Column’s more iconic releases. Still, it’s an excellent snapshot of their late period, creating sounds and textures that are remarkably cogent and effective, particularly given the fractured history of this highly influential band.