Benjamin William Pike
Album: Being And Nothingness
Label: Ginhouse
Tracks: 12
Website: http://www.benjaminwilliampike.co.uk

I was really impressed with Benjamin's somewhat undersold EP Devil On My Shoulder which came out just over a year ago, and so I now rather jumped at the chance to grab further evidence of his talent. And Being And Nothingness (despite not exactly reflecting its title) is no disappointment. However, it's not the special fusion project I'd been led to expect from the hints dropped at the time of the EP; instead it's very much a "carrying on where the EP left off" collection of a dozen self-penned songs that demonstrate most persuasively Benjamin's consummate mastery of the contemporary roots-country-blues.

Although you almost certainly won't have heard any of these songs before (aside from Linda, which is here revisited from the earlier EP), they all have the air of familiarity and a comforting, comfortable, wholly assured grasp of idiom and a wonderfully lyrical, natural style that makes them nigh irresistible. I'd noted the influences of Chris Smither and John Martyn on Benjamin's EP, to which, on The Way Things End, Benjamin now adds the distinctive stylings of Michael Chapman: this is a ruminative composition that wouldn't have disgraced Fully Qualified Survivor. Indeed, many of the songs here embrace a similarly telling degree of reflectiveness. On Broken Hearted Man Blues, Benjamin might be said to encompass the soulful demeanour of Eric Bibb, and he supplies accompanimental guitar motifs of suitably intricate character.

Speaking of accompaniment, Benjamin has engaged a select support crew - Adam Richards (double bass), Troy Faid (banjo, electric guitar, kora), Mattie Foulds (percussion) and Kay Chapman (harmony vocals) - who provide subtle delights at every turn without a hint of grandstanding the main attraction. And in case you're wondering, Benjamin does get to play the 21-string Indian mohan veena on this album, albeit only briefly, but he provides a deft showcase for his already accomplished status on that instrument in addition to the usual panoply of acoustic and electric guitars, lap slide and pedal steel.

I can't believe that I've still not managed to catch Benjamin playing live in my neck of the woods yet, but really hope to rectify that situation soon. Meanwhile, Being and Nothingness is an admirably intimate yet accessible, and thoroughly tasty and satisfying, disc to be going on with.

David Kidman