Everything is collapsing. Lucretius, De Rerum Natura, spoke of clinamen atoms, that is to say changes altering their fall into the abyss, to the sensible world to exist.
If we must fall in order to exist, I also rarely exist in recent months.
However, in the fall we look for cues that cling, anchors that will hold us back if ever taking starts to slip.
When I say these disks that perform this function as the soundtrack of our lives, The last disc in James Blackshaw is one. It is also a disc that allows me to write and hold on to something, that elusive emotion that reminds me of my vulnerability to this human quality.
Blackshaw gives us a solemn work, full of emotion and beauty to the scene that opens the imagination which runs parallel to the frame of our lives. But when actors are in place, you never know what their actual roles.
This disc is intended as a culmination of the career of this unusual musician. "The Glass Bead Game " published last year had left a little on my hunger and did not seem entirely completed. On "All is Falling," Blackshaw is accompanied by Charlotte Glasson on fiddle, flute, alto saxophone, glockenspiel, Fran Bury, violin and vocals and Daniel Madavi cello. The emotional charge that usually raises the strings is the rendezvous. Blackshaw meanwhile arming of a twelve-string electric guitar, plays great piano, glockenspiel, percussion and a little voice also. A disc lyrical melodies captivating and rehearsals are well maintained. His references to minimalist composers are much more assumed than its previous album. His compositions are clear, and beautifully finished.
pieces forming the disc are not securities, they are only numbers 1 through 8. A long piece in eight movements for smooth sequences. In fact, the only pieces ending in silence or music cuts are parts 1, 6, 7 and 8, the final piece. The last piece allows the composer to get out of the frame of reference which we used to the guitar and piano tones in exploring more drones. Glissandos of Part 7 may therefor be seen as an alarm siren inviting us to listen to what follows.
Part 6 has particularly caught my attention. Only on this piece are the voices of Blackshaw and Bury. They do not sing, they count the rhythm part. In fact Bury account 1-2-3-4 and Blackshaw punctuates another rhythm on the drums which are supportive of the guitar. Anyone with experience of Gurdjieff sacred movements feel a certain familiarity with this way of counting, recalling the account of certain rhythmic movements when performed without music. But maybe it is me who feels the need too hold on to something ...
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