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A track that separates itself from the rest is “F.O.R.E.V.E.R.” It’s a typical piano ballad that changes key constantly, and stays in a dark mood as Blake poetically reflects on the flaws around us, but reaches a solid point in its ending statement and resolves back to a major chord. This is a lonely off-white room I keep my gaze on you, while other people move Where you lead me I will goĪnything relies heavily on key changes from major to minor chords that invoke a range of emotions in the listener. He manages to do this without sounding desperate and clingy just simply expressing the gripping effect love can have on a person. Here is where he taps into the concept of being so attached to someone that you will follow their every will just to be loved back. This song is a tribute to a lover Blake sings “tell me where I need to go and love me there”. It continues the hypnotic element that began in the previous track with a constant bassline that gradually gets louder. The layout of the album is very clever once the chaos of “Points” ends, we are brought back to the calm and haunting beauty that was “Radio Silence” in “Love Me in Whatever Way”. It may come off as a shock to the listener at first glance but the constant synthesized sounds act as a trance and you are left hypnotized by the music. This is where his trademark erratic and chaotic style of production begins. This statement then evolves into a chant as the listener dives what seems as headfirst into the type of music Blake is known for. It begins simply, with Blake repeatedly stating “the sad thing is, you’re no longer here”. It’s a calm introduction to the record that creates the perfect gateway into the following track “Points”. Much of the album follows suit with this same theme – of loss of loneliness of brooding. The album begins with the beautiful lead single “Radio Silence.” It’s a dark and brooding confessional as Blake begs for more time with a lost connection.
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Just please, more time Just please, more time I’m sorry, I don’t know how you feel I don’t know how you feel It’s hard to tell if I don’t know how you feel Blake received international recognition for his 2013 release, which garnered him a Grammy nomination in 2014 for “Best New Artist” and a nod for “British Male Solo Artist” at the 2014 BRIT Awards. This was most likely achieved with the help of Frank Ocean, who co-wrote the album, and Rick Rubin, who co-produced. The production on this album is closely related to that of earlier works such as 2013’s Overgrown, but there is a higher level of maturity that can be heard around this time. The use of synths was very popular in the eighties and usually is a reminder of the cheesiest types of music, however Blake cleverly avoids the cheesiness and uses the sound to his advantage. It’s truly a spiritual journey when one sits down and fully beholds his work.Īnything is a body of work that is heavy with emotion and synthesizers to match. Blake is one of few modern artists to achieve this for the audience, and it helps to set him apart from everyone else. It’s a beautiful trip through which you can find yourself being more centered and attuned with your body.
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This creates a mood of tranquility his music is made for sitting and reflecting and focusing all your attention to your sense of hearing. James Blake is known for layering gorgeous harmonies over one simple melody.
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This is evident in much of his older works and remains the same with his most recent release, The Colour in Anything (via 1-800 Dinosaur / Polydor Records). One would assume that would make his music difficult to listen to, but in fact it creates an opposite effect. He pushes the envelope, creating music based on pure melodic tension. Rarely does he have songs that don’t contain a push and pull in-between notes and chords. It’s Blake’s trademark, and he uses it to his advantage. The first thing that comes to mind when thinking about James Blake is dissonance. James Blake’s The Colour in Anything is the musical reminder that we didn’t know we needed.