So much has been written about James Blackshaw’s association with the school of “American Primitive Guitar”. For most of his fledgling career the English 12 string guitarist has been seen as an inheritor of the tradition lain down by the Takoma greats of the 60’s- John Fahey, Leo Kottke Robbie Basho et al. Indeed he has been pivotal in the resurgence and appreciation of solo acoustic guitar music.
A New Direction
Now however, Blackshaw's work stretches beyond the pioneering work of his predecessors, and his free form minimalistic pieces mean that he draws few parallels with his musical contempories. Blackshaw’s music is at once familiar, yet totally unique; his approach to the guitar is simplistic yet revolutionary, and his compositions are as intelligentally crafted as they are uncomplicated. Litany of Echoes not only finds Blackshaw moving further away from the Takoma stereotype, but also from his principle instrument, the 12 string guitar.
The opening and closing tracks on the album are solo piano pieces which provide Blackshaw with the ability to experiment with resonance in a great many more octaves. The piano on “Gate of Ivory” and “Gate of Horn” owes a lot to the avant guarde composer Charlemagne Palestine. Repetitive figures distort and mutate under the influence of the sustain pedal, enmeshing with screeching electronica to create waves of urgent yet sympathetic drones. Even though the piano shows the progression and diversification of Blackshaw as a composer, it is still the 12 string pieces which showcase his main talent. His ability on the instrument is such that he sounds more like a harpist rather than any other normal guitarist.
Darker Melodies
The tunes on this album are a little darker than the ones on his last album, 2007’s much vaunted The Cloud of Unknowing. “Past has not Passed” begins ominously enough with piercing harmonics and eerie arpeggios, ringing bell-like over a bed of dissonant sounds coaxed from Fran Bury’s viola. These give way to the main melodic theme, a circular finger picked pattern on the guitar, ably emphasised by piano overdubs and a now more conventional sounding viola.
“Echo and Abyss” is similarly sombre, with a claustrophobic guitar riff moving to tremolo on minor chords. The melody emanates from the resonating wall of sound. It is one of the most movingly melancholic things Blackshaw has written. The key change from a D minor to a suspended F at one part of the tune is heart rendering, the high notes cutting through the droning sheets of sounds.
Things brighten up with the more placid “Infinite Circle”. The pastoral strings of the viola sweep over the simple guitar melody, to create something not far away from the Bryter Layter era of Nick Drake. “Shroud” the last guitar piece on the album has a very Eastern sound to it, the down tuned strings hum in unison through the circular picking pattern like a sarod.
Litany of Echoes is in many ways a step in unchartered waters for James Blackshaw. However his ability as a composer and his incomparable musicianship have helped in making one of the most dramatically moving albums of the year so far. Although not as magnificent as last years Cloud of Unknowing, Litany of Echoes is still a gorgeously cinematic addition to his already burgeoning canon.
Further Information:
 |
