Tompkins Square

Much of today's most popular music consists of heavily layered recordings and studio mixing, so it is refreshing to hear James Blackshaw's newest release, Litany of Echoes, in which the London-based musician needs little more than a single guitar to achieve an equal depth of sound.

Blackshaw, 27, is prolific in his music composition with Litany of Echoes marking his sixth release in five years under New York indie label Tompkins Square.

Immediately apparent in listening to Blackshaw's fingerstyle guitar work is that he puts musicianship first. There's little to obstruct the resonance of his 12-string. Litany of Echoes does, however, include a sweeping backdrop of piano, of Blackshaw's own handiwork, and Fran Bury's expertise on the violin and viola. These additions complement Blackshaw's dark, classical sound nicely while never rising out of the background.

Blackshaw's work is much inspired by that of the folk guitarists involved with the Takoma record label of the 1960s. Though the influence of John Fahey and company is apparent in Litany of Echoes, Blackshaw's compositions are uniquely his own, with a darker, more-concentrated quality than his predecessors.

On the album's third track, "Echo and Abyss," Blackshaw's guitar work is so rapid and deeply resonant that it is hardly believable that the effect is being created by a single person.

James Blackshaw's Litany of Echoes is a mesmerizing composition executed by a skilled musician. Anyone with an appreciation for fingerstyle guitar should check out Blackshaw's newest set. Litany of Echoes can be sampled on his MySpace page.