Fantômas and Musical Journeys

I consider James Blackshaw one of the most talented musicians I have ever come across. I have written about him before and the growth he has exhibited, from records featuring just him and his acoustic 12-string to more sonically complicated records involving keys and strings.

His latest record continues that journey forward and see him stepping not only into the role of player but as composer. Fantômas: Le Faux Magistrat was recorded live at the Théâtre du Châlet in Paris on Halloween 2013. In celebration of the 100th anniversary of the Fantômas silent film series, directed by Frenchman Louis Feuillade, composer Yann Tiersen was asked to run the score and accompanying live performances for screenings of the five films. For the final film, Le Faux Magistrat, he asked Blackshaw. And this record is a document of that performance.

It features Blackshaw on his usual nylon string guitar as well as the grand piano. For this he is joined by Charlotte Glasson, Duane Pitre, and Simon Scott playing assortments of guitars, saxophones, flutes, violins, electronics and percussion instruments.

I confess I don't know anything about any of these films or people, except for Blackshaw. His name on the record's spine is what got it into the shopping basket (virtually, of course). But I know interesting music when I hear it. The images on the record hint at a dark, noir-ish endeavor. The music is equally foreboding and lovely. It is broken into 13 pieces and spread over 2 LPs.

For me it is a real listening experience. Four great musicians playing live to a film involves a tremendous amount of skill. Especially when they are rotating from instrument to instrument. It is hard to image that 4 people could pull this off so well. A sinister piano melody is augmented by a dark, almost sleazy saxophone in one of the opening pieces, which will give way to a lovely 12-string figure, soon augmented by a haunting violin and vibraphone. It doesn't deserve to be background music. With so much going on it's worth the listener's effort to apply themselves to the music.

I wouldn't dream of performing music like this, the meager talents I have do no begin to approach what is going on here. I appreciate it immensely. I appreciate the talent and the skill, both natural and that honed by years and years of practice, to make this as wondrous as it is.

Here is a link to Part VIII. For whatever reason the embed won't find it.

Hymns

The album The Watchers features only four songs. Those four songs are played by James Blackshaw on 12-string guitar and Lubomyr Melnyk on piano. The latter is a Ukrainian in his mid-60s. The former is a Brit in his early-30s.

Blackshaw is one of my most favorite guitarists. He plays the 12-string acoustic more dramatically than I have ever heard anyone else play it. Listening to any of his many records is a fascinating experience. Those records have grown from him and his guitar only at first to evolve to more instrumentation and experimentation. His new records are always something I look forward to and seek out.

His latest is a collaboration with Mr. Melnyk. I am not familiar with his work; I went to wikipedia to find out who he is. Describing his style is best left to the entry:

is a composer and pianist who pioneered 'continuous music' which requires a totally new technique of piano playing, based on extremely rapid notes and note-series that create a "tapestry of sound" usually with the sustain pedal held down to generate overtones and sympathetic resonances. These overtones blend or clash according to the harmonic changes. The technique of mastering his complex note patterns and speeds makes his music difficult for the normal pianist. Melnyk's personal sense of harmony and melodic flow often create a sombre, stately effect. He writes mostly for the piano although several chamber and orchestral works exist.

This makes him a perfect counterpart for Blackshaw. With him, the music is not necessarily rooted in the technicality of the playing. What's remarkable, for me at least, is the exquisiteness of the playing. It's beauty through strings. It is the establishment of mood, of a presence that shimmers through the melodies and the notes. About a year ago I shared Blackshaw's playing with my oldest nephew, who countered with another guitar player he felt was better. I long forgot who it was because it was obvious to me that this second player may have had the virtuosity, but had none of the the passion that music like this requires. When it's just you and your guitar creating a lush landscape, you need to have that extra something swelling at the seams, taking the music to the level it is clamoring for. Blackshaw does that better than anybody else I have heard. And he finds the perfect compliment in Mr. Melnyk.


The collaboration is called The Watchers. It is four songs, three of which extend past the ten minute mark. It is as lovely as I was hoping it to be. The guitar and the piano work around one another and create it's own unique world. It's not the kind of record you put on at a party. It's the kind of record you really listen to, that you let wash over you. I can even hear it playing with the top down winding along an ocean-side road. It's natural, almost organic in that it feels vibrant, alive. Somber and stately is how Melnyk's playing is described. In this case I don't find the music somber at all; stately it indeed is but I find it alive and joyous. A hymn to life.

It took me a while to actually get this record. I had ordered it from Amazon about a month ago but I kept getting emails saying we-still-can't-get-it. Finally I went directly to the label site and ordered it from there. A couple days later, wa-la!!

For whatever reason blogger.com won't let me embed the video, so here is a link to the first track off The Watchers: "Tascheter."

Obligatory Buys

There are some bands that I will always buy their new record. As a fan I think it is important to continue showing support. Plus my music habit is close to a drug addiction, so it is a nice way of providing cover.

Some of the albums were really good...some were kind of meh.

Mirage Rock by Band Of Horses - I do not like their last two records as much as I liked their first two records. I sense a negative trend. The last two have been more by-the-numbers...less interesting.

The Sound Of The Life Of The Mind by Ben Folds Five - Ben Folds' solo stuff has always been sort of dull, especially when compared to his work with his eponymous band. The song writing here is not as great as the original three BFF records. Not a disappointment here; it is good to hear Ben playing with Darren Jesse and Robert Sledge again. They seem to bring out the best in Ben.

Algiers by Calexico - Best way to describe Calexico is if an alt-country band did the soundtrack for a spaghetti western. This one would probably have been in my top 20 if I thought that hard about it.

One Lovely Day by Citizen Cope - Clarence Greenwood writes great songs. This is another solid entry into his discography. Mellowish R&B-flavored singer-songwriter stuff.

Walking In The Green Corn by Grant Lee Phillips - Grant Lee Buffalo was an amazing band and their leader has turned in some greta solo records since he went solo. He is mellowing with age. Unfortunately it is not as interesting a sit used to be.

Love Is The Plan, The Plan Is Death by James Blackshaw - Young British 12-string acoustic player. Makes great instrumental albums with scary titles. Has experimented with more instrumentation, be it strings or keys or what. Still really pretty music.

Bringing In The Darlings by Josh Ritter - Great singer-songwriter with a new EP. This one is kind of meh.

The Dreamer by Rhett Miller - Kind of growing on me since I saw the Old 97s live.

Point Of Morrow by The Shins - I really liked this when it first came out. Still like it but it dropped out of the top 10.

Among The Leaves by Sun Kil Moon - Mark Kozelek's latest is sort of inert. I just don't dig this one.

Now For Plan A by The Tragically Hip - My second most favorite band on Earth and their latest is just sort of meh. I have thought that for the last couple of records but I eventually came around on them. Maybe I will here!

Tomorrow I will talk about my favorite metal albums of the year! YEAH!