The Colour in Anything often verges on the sublime, only to undermine its own potential. The raw youthfulness found on his earlier records was acceptable at the time, but unfortunately not much has progressed with age. I’m not so much disappointed as I am underwhelmed by his lack of development as an artist. Personally, I wish Blake would push himself harder. There is little progression between this and Overgrown to convince those who are yet to be sold on his passive style of song writing.įortunately, the magnitude of Blake’s audience has increased rapidly these past few years, and those who are endeared by his soulful musings and cold ambiance will still find a lot to love here. Dare I say it this is effectively James Blake on autopilot. For an album that clocks in well over the hour mark, it’s regrettably unambitious and even a little safe. Instead of continuing the development of being a singer-songwriter who produces electronic music, on The Colour in Anything he is too often an electronic artist who sings.
There’s certainly no denying his talent, yet he finds himself a victim of the scope of his natural capabilities.
Blake’s ability to exploit a particular space within a soundscape means his music can so often suit a variety of settings and moods. He illustrates a deeply sombre image, singing with a consistently mournful tone to fill the gaps left by a backdrop of music that feels sparse, yet inconceivably textured. Sonically speaking, Blake is where he has been since his debut album. Though James Blake tells us that he’s removed himself from a ‘perpetual cycle of anxiety and depression’, you’d be forgiven for thinking otherwise.
0 kommentar(er)
