Overgrown

I've always said that James Blake doesn't make music to listen to, he makes music to live to. I was introduced to him a few years back and he quickly became my favorite artist. I can't really explain it, something about his music just speaks to me on like a biorhythmic level. Anyway, with today's release of the futuristic "200 Press" EP, now seems as good a time as any to take a look back at 2013's Overgrown, his latest and what I would consider first album.

I should say that for as much as I love his sound, I almost never understand his lyrics, which, considering how drawn I am to lyricism, says how good his sound is. His words are often either unintelligible or so abstract that they could mean anything, so the storyline of his bodies of work come almost entirely from the movement of the music, and that's very hard to review holistically. Nonetheless, when you do get a dose of words to digest, they fit the always ethereal soundscape he excels so well at creating. 

But the music though. As sure as Drake will reference at least 1 obscure female, Blake will have at least 1 song that's fit to coax a child during an alien abduction. As to where he develops these left field sounds, I'm not sure, but that milky British baritone always brings it home. Overgrown is in line sonically with most of his previous work - surrounding synths, rumbling lows, piano samples, and eclectic timing - but this time with a slightly different flavor. It may be because he knew this was his first full release, maybe because it offers his first official collaboration (RZA), or maybe because he's just growing, but Overgrown is an ever-so-slightly darker undertaking than say, his self-titled EP. 

Technically James is as good as ever. Some nearly inaudible to human lows will sneak into whatever mood he starts a song with, he'll drop in some thick sounds to texture the piece, all the while vocal samples and bits of piano float in and out of your audible field - the usual. Instrument timing is what you'd come to expect of James by now too: some loop will be repeated in what sounds like the wrong spot, until you realize that that timing 'mistake' brings forth a premeditated anticipation that is subconsciously carrying you through a transition, all the while percussion steadies the progression - the works. In an interview he once said something to the effect of, "people ask why I'll have seconds of just silence in my music. I'll say, it's because that lack of sounds builds anticipation... you're going to get it when I give it to you." I don't always agree with how some of his songs are laid out but I absolutely respect his approach. 

Unfortunately, I have to admit that I wasn't nearly as drawn to this album as I was to previous works. I definitely appreciated it more after I came back to it almost a year after release, but I just didn't vibe the same while listening. I expected a bit more. A few exceptions of course: I heard a concert version of Retrograde a few weeks before that single came out and have loved it ever since, and Part Time Love always goes. There are notable others too, but on the whole I felt disconnected. At most points along the album, I either didn't know how I felt or plainly didn't relate, however interested I was or wanted to be. This disconnect came with what I consider over-experimentation, which I rarely say. It seemed like James was more focused on atypical than enjoyable in terms of structure and elements. It's hard to even write that sentence... that's his thing, he invents percussion. Yet and still, I just didn't vibe the same. And it may be different for you; I don't particularly care for Picasso's works, that doesn't make him any less a painter. 

In totem, it's definitely worth a listen. If you've never heard his music, you're in for a ride - it really is a forest of sounds. You may not find yourself compelled to dig all the way back to CMYK as a direct result of this set of songs, but you definitely won't feel as if you've wasted your time. And as far as my specific dislikes, they're all preferencial. Simply from hearing all his other music, I have to trust that however this may have turned out, it's intentional. It may turn out that you're at a time in your life when this hits just right. And that's the genius really, maybe I won't understand this for a few years, or maybe I would've understood it better years ago. Time will tell. Good art stands. 

Rating: 7.5

Favorite Song: Retrograde