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Overgrown

James Blake

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Album Review

With his 2011 debut full-length, dubstep-via-fractured R&B producer James Blake delivered on the promise of his earlier singles while at the same time overhauling his sound, moving away somewhat from the sample-heavy dubstep of those tracks to a sparser atmosphere. The album focused more on Blake's equally haunted piano and vocal lines, submerged elements of implied rhythms, dubstep's subsonic bass resonance, and ghostly samples to create a picture of restraint and contained emotional upheaval. The album felt not so much like the calm before the storm, but like silently watching a hurricane slowly and soundlessly move closer from the distance. Sophomore album Overgrown offers a similar feeling, but Blake approaches the songs here with even more restraint and a subtly deconstructed take on pop. Subtlety is perhaps Blake's greatest attribute on Overgrown, with what could even be the album's heaviest moments blurring into a pleasantly melancholy whole through deft production choices. Take for instance "Take a Fall for Me," a partially rhythm-less track featuring Wu-Tang's RZA in an extended set of rhymes over a looping sample of static and processed backing vocals, and samples that recall Tricky's earliest work. The jagged edges of a track like this could render it awkward with more obvious production, but Blake's touch pushes even RZA's toughest verses into a rainy, lamenting place. The skeletal piano of the debut returns on tracks like "DLM" or the gorgeous album-closer "Our Love Comes Back," which has the faintest hints of Chet Baker's springtime loneliness buried in Blake's mumbling blue-eyed R&B vocals. Brian Eno even shows up to collaborate on the sputtering rhythms of "Digital Lion," perhaps the most hyperactive track here, though only in relative terms. Somewhere between the vacant echoes of dub and trip-hop, dubstep's sample-slicing production, and the contained heartbreak of a singer/songwriter playing piano to himself in an empty room, Blake has crafted Overgrown. It's understated to the point of invisibility at times, with Blake subtracting even himself from the songs, allowing the lead vocals or hooks to be consumed by the song at large. Though the stormy textures and somber reflections are pretty specific to a particular mood, Overgrown finds and fits that mood perfectly. While it might take listeners a few spins to find the right head space for the album, once they get there, it's an easy place to get lost in.

Customer Reviews

Briliiant

The first real contender for Album of the Year

unexpected

i honestly thought that James's last album would be a one hit wonder. purely because it was so different and amazing that it could not be bettered. I am glad to say I was wrong! awe inspiring and refreshing true talent, and from someone who thought I had heard it all and was getting very bored with 'new music' first Bowies new album now this! maybe things are a changing musically in uk at last.

Maverick

James Blake's hugely distinctive style and reverie provoking voice just makes this another incredible release within a world of clearly talentless music and nondescript genre.

Biography

Born: 25 September 1988 in Enfield, London, England

Genre: Dance

Years Active: '00s, '10s

Influenced by the likes of D’Angelo and Stevie Wonder along with Burial and Mount Kimbie, London-based producer James Blake first gave the world a taste of his quirky, R&B-sampling strain of dubstep in 2009 when his Air & Lack Thereof 12” appeared on the Hemlock label. Blake received quite the endorsement when the heralded Soul Jazz label picked the track up for their Steppas' Delight 2 compilation that same year. Blake raised his profile every few months during 2010 — something of...
Full bio
Overgrown, James Blake
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