With his Mortal Prophets project, New York City, USA-based John Beckmann proves himself to be a chameleon of music.

By Graeme Smith

He’s also prolific, with over a dozen records of his passing through our pages since 2023. Each takes his discography in a different direction. We’ve had disco, Spaghetti Westerns, German techno, unexpected covers, and more.

So, with his latest, GUITARWORKS II, I was expecting something different, but he still managed to surprise me.

“GUITARWORKS II is about attunement,” Beckmann explains. “It’s music made in response to the absence of words, to the power of landscape, and to the mythic residue that lingers in forgotten places. Like Eno and Cluster’s work, it’s about the space between the notes as much as the notes themselves.”

It is, of course, a follow-up to GUITARWORKS, a collection I ran the rule over in January 2024. Much like its predecessor, the album builds cinematic soundscapes out of the bare minimum, letting the guitar take centre stage and do the talking across each piece. It’s astounding what Beckmann gets out of the instrument, showing us why it’s been so influential in music since its invention.

There are a mammoth sixteen tracks, but each are concise and add something to a wider picture, starting with the tinkling and slightly sinister Chaco Canyon and ending with the lowdown and bluesy Angel Mounds. Across it all, Beckmann proves himself to be the master of creating atmosphere.

Yet, the star is the guitar. I found myself a renewed appreciation for the ever-present instrument. I promise you’ve not heard it like this before.

GUITARWORKS II is out now, and you can listen to it below.