![]() Blake then splices up the piano chords and vocals to create unique breaks. "Why Don't You Call Me" opens with only voice and piano, "played with the studied delicacy of a classical student". In the album's eighth track, "To Care (Like You)", Blake pitch shifts, cuts-up, and layers his own vocals and combines them with quiet keyboards and a bass-heavy and very percussive beat. This is followed by "Give Me My Month", a short piano ballad, also a minimalist piece. The song uses only Blake's singing, piano, percussion, and a wobble bassline. The album's sixth track, " Limit to Your Love", is a minimalist dubstep cover of the song of the same name by Feist. Both parts of the song extensively use vocoders and Auto-Tune. "Lindisfarne I" is entirely a cappella, while "Lindisfarne II" takes these vocals (with some new lines added) and pairs them with acoustic guitar and light percussion. This is then followed by the two-part " Lindisfarne". The song has a unique bass drop three minutes and forty seconds into the song. ![]() The third track, "I Never Learnt to Share" is a post-dubstep song with elements of electronic rock and soul music, beginning with repetitive a cappella vocals, then adding in electric guitars and lush keyboards. "The Wilhelm Scream" is built around soft synth tones and booming percussion which gradually increases in volume to create a slightly claustrophobic sound. The second track, " The Wilhelm Scream" is a cover version of "Where to Turn" by his father, James Litherland. The album begins with " Unluck", a post-dubstep song with multi-layered vocals (processed through the use of Auto-Tune and vocoders) and distorted synths. Blake has evidently done this with many tracks on the album. Grayson Currin of Pitchfork noted that the album is "composed of tender torch songs, elegiac drifters, and soulful melodies, Blake's first puts him in the rare company of fellow singers- Thom Yorke, Karin Dreijer, Antony Hegarty, Justin Vernon, Dan Bejar- who've recently bent their own lavish voices, not samples, to make interesting pop music shaped with electronics". That's what makes this record special compared to everything I've done." īefore the album's release, Blake was named in both BBC's "Sound of 2011" shortlist, and came second to Jessie J in the running for the BRIT Awards' Critics' Choice Award. ![]() "There are times when it might seem there's a sample being used, but I've just sampled myself. īlake, speaking to Jo Youle and Mark Savage of the BBC, said that a lot of the vocals on the album were by him, despite relying more heavily on samples in previous work. He added that the band's acclaim meant listeners "are gonna be a lot less shocked by ". ![]() ![]() In interviews about the album, Blake cited fellow Londoners the xx as an influence, telling Clash 's Robin Murray their success with debut xx "made it a lot easier for me". However, despite the amount of music released by Blake in 2010, most of the material on his debut album is completely new. Mike Powell of online music magazine Pitchfork noted it was "amazing" that so much material could be released in such a short period of time. All three EPs have differing musical styles. James Blake builds on the material released by Blake as three EPs in 2010: The Bells Sketch, CMYK and Klavierwerke. A deluxe edition was released on 10 October 2011 with different artwork and bundled with a second disc, Blake's then-new EP Enough Thunder, which was also released separately. The album was released to widespread critical acclaim, and was nominated for the 2011 Mercury Prize. The release was supported with the release of its first single, " Limit to Your Love", on 28 November 2010. It was released in both the United Kingdom and the United States on his own label, ATLAS, supported by A&M Records, on 4 February 2011. James Blake is the debut studio album by London-based electronic music producer James Blake. ![]()
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