Album Review: James Blake - Overgrown

James Blake’s extensive series of vivid EPs followed up by the release of his eponymous debut album in 2011 enshrined his stylistic form; a futuristic take on the electronic music scene. He formed his own distinct, intriguing bravura which shouldn’t have worked, but it really, really did. On first listen we know it’s good but Overgrown embodies such heavy craftsmanship it does take a few listens to absorb all of its different elements and layers. Setting the standards exceptionally high in his preceding work, it was uncertain if his second studio album would surpass, but yet once again Blake proves his persistently excellent musical charms.

Overgrown offers a slow beginning. ‘I Am Sold’ and ‘Life Around Here’ employ the traditional fraught vocals, erratic drumbeats and cyclic synths. It's easy to forget how perfect his voice can be and these tracks beautifully maintain his soulful vocals against a bed of obscure piano chords and breakbeat loops.

‘Take A Fall For Me’ has to be one of the best but most unexpected music collaborations of the year. Featuring RZA, The Wu Tang Clan’s very own legendary King of hip-hop, Blake's production works strikingly in sync with a musical genre not to close to his own. We hear RZA rap of dying romance to a melancholy absorbing beat and his voice is harshly juxtaposed with James Blake’s echoing falsetto, “What will become of me/If I can’t show my love to thee?/You can’t marry her”. The muffled words at points are incoherent yet the sophisticated production of the track works brilliantly. From dark hip-hop to the club crowdpleaser that is ‘Digital Lion’, featuring musician and composer Brian Eno. A gospel inspired, reverberating beginning leads into pulsing bass and hectic percussion, it is flawless. Like ‘Digital Lion’, which we know will excite every person on James Blake’s dance floor; ‘Voyeur’ enraptures with this same feeling. Elusive percussion and glitches bring it to an innocent start but it morphs into a captivating, electronic dance track using a constant distorted, alienating vocal loop.

‘Retrograde’, the album's lead single, is placed at the centre of the tracklisting and showcases Blake’s ability to mould the dubstep genre into whichever niche he chooses to take it. Soulful, and with tantalising bassline which is heavier than many of the other more harmonic and sombre tunes here, this track is proof that he can create hugely successful original work. ‘Retrograde’ is a confident, slick and catchy R’n’B number.

The lyrical aspects of Overgrown provide a shift away from James Blake’s complex and technical work of the past. Weaving together tales of love and longing, he focuses upon using his voice as an instrument and finds a perfect balance merging with his imaginative, klaxon-pulsing tracks. With great lucidity he sweeps an abundant aspect of melancholy throughout the album as a whole. ‘DLM’, is a soft piano ballad that spotlights his classically trained voice; elements of Jeff Buckley are heard as he begs, “Please don’t let me hurt more.”

The pains of long distance love seem to melt away on final album track, ‘Our Love Comes Back’. Hitting high notes with delicate ease, gentle cymbals and soft piano chords accompany his emotional ending which coherently and cohesively encapsulate his albums intentions. This song is stripped to bare essentials, a beautiful finish to such an expertly mastered and defined album. Overgrown has allowed James Blake to develop as a lyricist, a writer and a musician and he seamlessly intertwines each aspect into his creation. Showing a new-found depth with his own stylistic skill and enthralling collaborations he really has exceeded all expectations.

Overgrown is out now and available from amazon and iTunes.