I leave to spend a few minutes before beginning to write my thoughts on this album.
I try to empty the mind, the journey is long I'm doing, I need something that tickles my attention. System EQ and I start the album. Silence and steady hands. "Unluck" ends abruptly and I, annoyed by the moment of silence, place your hands on the keyboard.
Track number two on the horizon and is beginning to jag slices of light from the clouds clear.
Only those white clouds surround the hills, there in the distance.
I opened my eyes to the light and pleasantly discover that there is still someone who sings vocals and let the echoes of si rincorrano fra quelle colline che sto percorrendo.
Trovare artisti di questo calibro è difficile al giorno d'oggi. Ammetto che non conoscevo l'esistenza di questo James Blake . completo, ricercato, a tratti banale, ma grande arrampicatore di specchi.
La voce, a volte spezzata, sembra emulare il suono di una tromba acida nelle sue evoluzioni, mentre i synth vanno inserirsi in un elegante controtempo dalle sonorità mistiche.
Il cantato, come un moderno madrigale, sovrappone diverse tonalità della lirica, degenerando in un downtempo elettronico.
Ma è dalla quarta traccia, "Lindesfarne I" che si inizia a delineare the intent of Blake: hide and seek in a pleasant quiet and empty spaces and reflective lyrics clearly derived from the gospel.
"Lindesfarne II" is the explosion of the previous sequential vacuum.
It 's like the resumption train to run and sometimes in the vicinity of the tunnels, the melody to focus only on the rhythm.
"Give my month" is a ballad for granted. voice and piano accompanying melancholy and simplicity of words. Blake seems to slow down its path Rococo research and sound change.
E 'with' To care (like you) "which takes over the search path with a surprising use of patterns in 16th and cacophonous voice. Words deliberately mangled, stretched Deelay from rhythm & blues.
Lie down in a meadow: Get on your stomach and lower his head to look through the grass in front of you. As you focus on what we understand consists of: small broken twigs, insects, stones, blades of grass. Overall
what you perceive is the green bass line that fills the background in the visual imagery of hearing. Each element of that field is focused in a busy and distinguished as the various sounds that make up the song, introduced one by one, mixed carefully and deliberately shares the same.
"Why do not you call me" is a lament about love. acid and confused as a hangover at a time the misfortunes of the heart.
"The shortest distance between two points is often intolerable," as he said good Bukowsky, Blake, however, says "Limit to love you" by forming a path not taken for granted, full of the pure pleasure of getting lost in the details .
'incapacità The overall move in a straight line construction of the entire album is perhaps the conscious membership of a modern time, so full of information, would combine many (sometimes too many) expressive nuances.
James Blake is illogical at best a generation of travelers, the tortured synth researchers between traditionalists and lovers of music.
posted by Juba Mantellini
February 7, 2011
James Blake - James Blake
R & S Records
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