JAMES BLACKSHAW/THE GLASS BEAD GAME/Review

The word ‘unique’ is applied far too often these days to be truly helpful, but in the case of James Blackshaw it is entirely accurate.

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James Blackshaw - The Glass Bead Game Album Review

by Phil Styles on Thursday, 20 August


The word ‘unique’ is applied far too often these days to be truly helpful,
but in the case of James Blackshaw it is entirely accurate. Signed to
Michael Gira’s (ex-Swans / Angels of light) fantastically diverse Young God
records, James has created a work of ethereal beauty that defies reviewers to
place it into any convenient category. Housing just five tracks in almost
fifty minutes of music, ‘The glass bead game’ is an absorbing and difficult
piece of work, definitely not for the faint of heart, but utterly rewarding.
Devoid of vocals in conventional terms, it features oral (and wordless)
contributions from Lavina Blackwell, a classically trained singer, and
instrumental contributions from John Contreras (on Cello) and Joolie Wood
(Violin, Clarinet and flute) all of whom add depth to the astonishing guitar
work on display. First track ‘cross’ is a beautiful piece, nearly nine
minutes in length, which passes in the blink of an eye, and highlights
everything that is special about this album. Each instrument is dependent on
the other so that the music is almost orchestral in feel, with no oneperson
standing out as a star of the track. ‘Bled’ is slower than its predecessor
and showcases just what a phenomenal musician James is. The guitar builds
into, and over, itself, slowly reaching a crescendo that seems to take an
age to arrive, and yet the listener is never bored, trapped inside the
reverie that the song creates. ‘Fix’ is the album’s shortest piece, at a
relatively svelte six minutes, and utilises the piano to create a haunting
melody that could most easily be described as Mogwai playing classical
music. ‘Key’ is once again set on the acoustic 12 string, and offers a
welcome change of pace from the slow ‘fix’, introducing a more uplifting mood
into proceedings) and, again,

James uses his instrument to create a wall of sound that is truly
mesmerising. Final track, ‘Arc’ is the undisputed highlight of the album, a
sprawling, eighteen minute track, that covers a gamut of emotions and
sounds throughout its epic length. Based around James’s piano, with the
sustain pedal pushed almost through the floor, the music simply resonates
about the listener, encouraging reflection, without ever becoming sombre or
depressing. The final track is a remarkable achievement, which justifies the
price of the CD alone, let alone the other material on offer here.
In summing up I’d like to start with a warning. In contemplating purchasing
this album, you have to consider what it is you want from your music. This
is an amazing record played with passion and precision, but it is not for
those seeking a quick musical fix, and it requires patience and attention
from the listener. The music is deeply personal and encourages thought and
introspection, even while it is uplifting and utterly beautiful. For those
readers who embrace unexpected forms of music, then this is a minor miracle,
a gem of a record created by a talent utterly without peer and one of the
most unexpectedly rewarding releases I’ve heard all year. James Blackshaw
may well go on to do better works, but whatever his future points to, this
work will forever stand as a testament to his skill and artistic vision.
The glass bead game is available now through Young God records...