James Blake: Overgrown

Soulful electro-based renegade of sound James Blake’s self-titled debut record scooped up plenty of plaudits thanks to its daring musical vision and fusion of bleeding edge tech with soaring, ethereal melodies that could even provoke a tear from Mr. T himself. Dubbed ‘blubstep’ by some wags, the Londoner’s studio wizardy and Buckley-esque voice (Tim or Jeff – take your pick…) helped him live up to his initial hype.
The follow-up, Overgrown, is, as expected, absolutely brimming with all the latest techy tricks. But this time around, Blake has chosen to put an even stronger focus on songwriting, eschewing copious wobbles and cavernous bass for a more, dare we say it, mature sound. ‘DLM’ for example, is as stripped back as he’s ever been, featuring only a haunting piano to underpin that heavenly voice of his and it’s a goosebump-inducing tune which should silence the critics who wrote him off as throwaway.
‘Take A Fall For Me’ is another highlight, boasting a laidback rap from Wu-Tang Clan kingpin RZA backed with a rain-soaked soundscape and high-pitched vocal loop – which manages to make fish and chips with vinegar sound like the epitome of romance. Elsewhere, Blake shows off his studio skills on the hypnotic ‘Voyeur,’ mind-fucks us with the schizoid ‘Digital Lion’ (which turns into a full-on trance track) and shows off his pop suss thanks to an unforgettable hummed hook on recent single ‘Retrograde.’
Blake has served up a tasty second course in the form of Overgrown: there’s plenty here for both fans and new comers to sink their teeth into.