In a recent article in the Guardian, writer Paul Lester offered up James Blake as the new figurehead for "intelligent urban music". Many loose terms have been banded about by journalists desperately seeking appropriate illustration for Blake's vibrantly unique sound. Yet this latest effort smacks of laziness, and revives the old argument that hounded the once-ubiquitous genre tag "IDM"; what makes it intelligent, and is all other music consequently cast off as dumb and brainless?
The 22-year old's productions feature a strong vocal R&B backbone, and beard-stroking, supposedly insightful music isn't the typical paradigm associated with a scene now lodged in rampant misogyny and overtly sexualised imagery. Rather, Blake's singing heroes include Ray Charles and Joni Mitchell. But for the purposes of his music Aaliyah, Brandy and R. Kelly are sampled, almost to the point of where they are indistinguishable. Their voices are twisted and contorted in Blake's inimitable style, cut up in staccato fashion and swamped in a mass of electronic effects.
Long the staple of many high-profile DJs' sets, title track 'CMYK' has its roots in the dancefloor as well as the headphones. He repeats the powerful one-two of dissonant, protracting synths and yearning vocals that embody his best work. The use of vocal samples other than his own offers a form of narrative that has escaped his perhaps more personal previous songs, with "I'll Stay" merging together both male and female vocals, stopping just short of revealing itself as a anguished plea to a lover.
"Footnotes" and "Postpone" show Blake at his most restrained, and both tie up sparse, effective openings with soaring crescendos.
As the releases notch up, James Blake sustains the high expectations that rest on his shoulders. With "CMYK" he presents a set of wonderfully fractured electronic pop songs, which continue to lay the groundwork for a potentially explosive talent.
Out May 31st.
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