Review of Brethren of the Free Spirit
All Things Are From Him, Through Him and In Him; Audiomer 2008
Nov 25, 2008
British guitarist James Blackshaw has been rightly hailed as a genius ever since his album Sunshine appeared as a self released CDR. Whereas his first release Celeste made a gracious bow towards John Fahey and Robbie Basho, Sunshrine heralded the arrival of a unique and vital voice for the 12 string guitar. Blackshaw’s compositions have since been imbued with a meditative and unashamedly emotive quality, as eloquent and moving as they are uncommonly beautiful.
Netherlands native Joseph Van Wissem treads a more restrained and cerebral sonic path to Blackshaw although his chosen instrument, the renaissance and baroque lute, places him upon even more esoteric ground. However through solo albums and through collaborative works, Van Wissem has bridged the gap between seventeenth century lute composition and 21st century free improvisation. His stark and haunting compositions utilise the instrument’s own musical history, but grounding it firmly in the modern age.
All Things Are From Him, Through Him and In Him
Their first album together under the moniker of The Brethren of the Free Spirit finds them reconciling their different styles to create an album of supreme quiet beauty. Having named themselves after a 13th century heretical movement and with the title lifted from the Mass, there is a distinct exploration spirituality in these four tracks.
This is not surprising as Blackshaw’s last album took its name from a Christian spiritual text, and he tunes his guitar in such a way as to make the instrument sound almost liturgical. Coupled with the semantic connotations associated with Van Wissem’s lute and it is no surprise that this album sounds markedly medieval.
A Sprialling Litany
“The Lifting of the Veil” sees Blackshaw’s 12 string to the fore as he lays down a suitably restrained guitar line for Van Wissem to supply emphatic harmonics and varying single notes, which subtly alter the colour of the whole tune. The track’s melancholy is so pervasive that it moves plaintively over its 8 mins like a quiet prayer of lament.
The spirituality within this work is further emphasised by the title track and the closing “In Him There is No Sin”. The former finds Blackshaw doing what he does best, a spiralling, circular melody which choruses chime like above Van Wissem’s lute.
The Latter is a piece of music in keeping with their assumed nom de plume, sounding akin to medieval Crusader music containing a melodic line in the Phrygian mode. Suitably abetted with some warm electronics, the track works beautifully and signals the musical chemistry between the two artists.
Only “The Unencumbered Soul Advises” breaks the quiet spell conjured up by the two players, being as it is a long, sprawling excursion into electronica which just about holds itself together.
This is an album which has a great deal to recommend it. Seemingly it is becoming more evident that everything James Blackshaw puts his hand to reaches the highest standards, this album being no exception. Highly recommended.
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