James Blake is not a dance record. Last year, James Blake released two EPs that showcased his ability as a dubstep artist and created hype for his debut album. There was every expectation that this album was going to be another foray into the dance genre. However on his debut LP, Blake utilizes the tools of dubstep (heavy bass, eerie synths and the hoover synth) to create a minimalist singer-songwriter soul album. The results of Blake’s dubstep re-imaginings are mixed. When he nails it, James Blake is one of the most interesting albums released this year. But when he doesn’t, the songs lag due to his poor songwriting ability and can be a downright bore.
James Blake opens with “Unluck,” a slow jam propelled by a simple synthesizer line and clicking percussion. Blake’s manipulated voice comes in on top and is soon doubled as harmonies are added. The minimal song features almost no bass or precussion. “The Wilhelm Scream” follows with again a simple synth line and Blake’s voice and minimal percussion (this is the pattern most of the album follows). Soon more layers of synthesizers and voices come in. It’s interesting for about two minutes as the lyrics are repeated over and over again. The last two minutes of the four minute and 30 second long track are filled with static white noise and Blake continuing to repeat the same lyrics. Again and again.
“I Never Learnt to Share” owes a lot to “Woods” by Bon Iver. Much like the fantastic Bon Iver track, the song begins with a manipulated voice that is soon joined by more voices singing the same exact thing. Yet “I Never Learnt to Share” is a highlight of the record mostly because of Blake’s ability to control a synthesizer and drum machine. After the indulgent intro the song reaches a climax of synthesizers and pounding drums. It’s the most intense moment on the somewhat restrained album.
“Lindesfarne I” and “Lindesfarne II” make up probably the most interesting two tracks of the record. Part one contains just Blake’s heavily manipulated voice and pauses of silence. It’s a beautiful showcase of how good this guy’s voice is. Part two introduces an acoustic guitar and a simple drum pattern. It a serene moment on album that sometimes doesn’t understand the difference between peaceful and boring. Next is a cover of Feist’s “Limit to Your Love” which is brilliant as it both showcases Blake’s voice but also is completely engaging with house pianos and dubstep bass.
The second half of the album is where Blake’s gimmick really unravels. “Give Me My Month” is just Blake and a piano with nothing that differentiates it from a standard ballad. And lyrically Blake still has a long way to go in order for songs like this to be engaging. “To Care (Like You)” is the song that most resembles Blake’s EP works with more intricate percussion and vocal samples. But here it feels out of place. “Why Don’t You Call Me” is a piano ballad with dubstep elements thrown in. “I Mind” is the highlight of the second half of the record featuring vocal manipulation and a distinctive and interesting rhythmic pattern. The album ends with “Measurements,” another piano ballad that fails to really reach the listener.
James Blake is a frontloaded album. The first half showcases an artist testing the limits of genre and instrumentation. He is recontextualizing sounds from the dance floor into an album that is best listened to with headphones in the dark. The second half however shows that Blake hasn’t fully developed as a songwriter. It’s an interesting first effort that leaves listeners curious about what he is going to do next.
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