James Blake Overgrown Album
James Blake Overgrown Rare

2011 James Blake - James Blake 16-44.1 FLAC.rar - 339.1 MB 2013 James Blake - Overgrown 16-44.1 FLAC.rar - 231.0 MB 2016 James Blake - The Colour In Anything 16-44.1 FLAC.rar - 433.9 MB 2016 James Blake - The Colour In Anything 24-44.1 FLAC.rar - 812.6 MB 2019 James Blake - Assume Form 16-44.1 FLAC.rar - 281.9 MB James Blake single ep.rar - 896. Artist: James Blake Album: Overgrown Released: 2013 Style: Electronic Format: MP3 320Kbps / FLAC Size: 90+7 Mb. Tracklist: 01 – Overgrown 02 – I Am Sold 03 – Life Round Here 04 – Take A Fall For Me 05 – Retrograde 06 – Dlm 07 – Digital Lion 08 – Voyeur 09 – To The Last 10 – Our Love Comes Back. Bonus Track: 11 – Every Day.

Overview

With his 2011 debut full-length, dubstep-via-fractured R&B producer James Blake delivered on the promise of his earlier singles while at the same time overhauling his sound, moving away somewhat from the sample-heavy dubstep of those tracks to a sparser atmosphere. The album focused more on Blake's equally haunted piano and vocal lines, submerged elements of implied rhythms, dubstep's subsonic bass resonance, and ghostly samples to create a picture of restraint and contained emotional upheaval. The album felt not so much like the calm before the storm, but like silently watching a hurricane slowly and soundlessly move closer from the distance. Sophomore album Overgrown offers a similar feeling, but Blake approaches the songs here with even more restraint and a subtly deconstructed take on pop. Subtlety is perhaps Blake's greatest attribute on Overgrown, with what could even be the album's heaviest moments blurring into a pleasantly melancholy whole through deft production choices. Take for instance 'Take a Fall for Me,' a partially rhythm-less track featuring Wu-Tang's RZA in an extended set of rhymes over a looping sample of static and processed backing vocals, and samples that recall Tricky's earliest work. The jagged edges of a track like this could render it awkward with more obvious production, but Blake's touch pushes even RZA's toughest verses into a rainy, lamenting place. The skeletal piano of the debut returns on tracks like 'DLM' or the gorgeous album-closer 'Our Love Comes Back,' which has the faintest hints of Chet Baker's springtime loneliness buried in Blake's mumbling blue-eyed R&B vocals. Brian Eno even shows up to collaborate on the sputtering rhythms of 'Digital Lion,' perhaps the most hyperactive track here, though only in relative terms. Somewhere between the vacant echoes of dub and trip-hop, dubstep's sample-slicing production, and the contained heartbreak of a singer/songwriter playing piano to himself in an empty room, Blake has crafted Overgrown. It's understated to the point of invisibility at times, with Blake subtracting even himself from the songs, allowing the lead vocals or hooks to be consumed by the song at large. Though the stormy textures and somber reflections are pretty specific to a particular mood, Overgrown finds and fits that mood perfectly. While it might take listeners a few spins to find the right head space for the album, once they get there, it's an easy place to get lost in.

James Blake Overgrown Album

James Blake is not unique in his predilection for bending, chopping, and fracturing melodies until all that remains is a sonic mosaic of meticulously arranged, stained-glass shards. 602lan suite 2004 keygen file. He is also not the first vocalist possessed of such soulful affect that his album cover image of a skinny white kid in a trench coat induces double takes. What makes Blake truly remarkable is the tension of those devices presented in tandem.

On 2010’s EP’s The Bells Sketch, CMYK, and Klavierwerke, the London-based producer employed alien, forward-looking sounds to achieve an uncanny familiarity, warping his own voice and the sampled vocals of R&B divas around asymmetrical sculptures of wonky sub-bass, twinkling jazz percussion, and glitchy synth squelches. On his self-titled debut full-length, Blake straightened out those kinks into sinewy slow jams, letting his full-throated croon take center stage while maintaining hints of the eclectic knob-twiddling that made him so beguiling to EDM and dubstep crowds in the first place.

This simplification continues on Overgrown where Blake ventures even further from his experimental electronic roots into more traditional song structures that adhere to R&B and gospel tenets. The acutely pitch-shifted vocals, fragmented melodic loops, and disintegrating dance floor rhythms that were prominent in Blake’s early career have moved from focal points to mere embellishments. It takes some getting used to; the transformation is akin to a cubist painter dropping the angles and edges for a deep dive into aesthetic realism.

James Blake Overgrown Rare

Fortunately, the subject matter remains unchanged — Overgrown explores the delicate, inner workings of Blake’s emotional core, a compass that’s calibrated along the wobbly axes of longing, loneliness, and estrangement. Understated, elegant, and aglow like a candescent stove burner turned up to its lowest setting, Overgrown Mac os x el capitan dmg download. takes time to heat up (several listens at least) but once the temperature gets there, it’s an inviting place to invest your hours.

There’s a dead of the night stillness and somnambulant intimacy to Overgrown that befits intent, nocturnal listening. The title track relies on little more than a pattering of cymbal taps, a soft organ, and Blake’s miraculous voice for color, its clean arrangement and spacing acting as an enormous canvas for the song’s subdued blue hues and muted sepia tones. It’s dark and quietly sultry without ever feeling unctuous.

First single “Retrograde” has gorgeously subtle chord changes that are underscored by Blake’s little inflections and vocal runs. His softly hummed intro is looped into a backing melody that steadily builds until a whining synth siren launches it into the stratosphere — it’s as close as Overgrown gets to the eye-popping climaxes of precursors “The Wilhelm Scream” or “Postpone.” Blake is less enamored with being an aural auteur and boundary pusher, instead focusing on bare melody and whisper-thin texture to evoke a broad range of emotions.

Blake’s lyrics are often as sparse and impressionistic as his sound — there’s frustratingly little to grasp onto in Overgrown. You rely less on the actual imagery evoked by Blake’s words and more on their repetition, context, and nuanced phrasing to tease out the feelings behind them. On “I Am Sold” the recurring line “We lay nocturnal/ Speculate how we feel” lingers uneasily over a creeping bass line, but on the glowing album closer, nearly the same thoughts (“Our love comes back/ In the middle of the night”) exude acceptance and hushed contentment.

“Take A Fall For Me’s” murky piano dirge feels weighed down by guest star RZA’s stilted, lackadaisical rhymes (“Candle light dinners of fish and chips with vinegar/ With a glass of cold stout or old wine or something similar”) which feel more like a clichéd caricature of British life than heartfelt storytelling. It shows how delicate the balance is in Blake’s artistry — insert a guest rapper and the wispy atmosphere becomes little more than an old Wu-Tang motif, stoned out and stripped of its teeth.

More often than not though, Blake gets the subtleties right. On the title track, Blake likens himself to “a stone on the shore” and a “long door frame in a wall,” carefully marking his place in a dissolving love affair with images of insignificance and vacuity. Blake urges a lover to stay away from a bad relationship on the finely woven “DLM”, but there’s a shocking twist — “Don’t let me hurt you” he begs in a broken voice. He’s imploring her to seek protection from himself, as if his own desires are something he’s incapable of halting. It’s a provocative twist on the “don’t go to him” pleas that usually dominate R&B songs.

Blake isn’t above libidinous urges