James Blackshaw made his name in underground circles as an expansive, 12-string acoustic player, following forebears, such as 60s pioneer John Fahey, who transmuted the folk singer's prop into a vector for flowing ragas. Of late, though, Blackshaw has been experimenting with piano; All Is Falling finds him deploying electric guitar as well. This flowing, neoclassical piece in eight parts has abandoned the organic finger-picking feel of his early work, bringing Blackshaw into the more crowded realm of soundtracks. But he retains his fluency and All Is Falling is an accomplished leap.