If you’ve read the article that precedes this one, you will know something about my newfound obsession with James Blake. Although this rather prolific artist has been gracing us with richly thoughtful and layered music since 2010, I am ashamed to admit that I only became familiar with it very recently. However, you should also know that I am doing everything I can to make up for lost time and I haven’t been able to stop listening to The Colour in Anything, released this year, since my introduction to it just a few weeks ago.
Although I am not able to give you a comparative review of James Blake’s latest work, due to my late discovery of his music, I am able to communicate my favourite things about the album to you and that is what this feature aims to do.
As I mentioned in my feature on Blake’s collaboration with Justin Vernon of Bon Iver, it is difficult to believe that Blake is primarily an electronic producer. The Colour in Anything has an exceptionally timeless feel to it, shattering any ideas you may have of what can be created from behind a computer screen. While a classical musician may argue that an electronic piece is less impressive than one that is created with physical instruments, it cannot be denied that there is incredible technical skill involved in piecing together digital elements and combining them to create synergy and evoke sincere emotion in those who are lucky enough to listen to it.
The maturity of Blake’s vocal, albeit heavily edited, surpasses his twenty seven years. When I listen to it, I am reminded of iconic artists such as Bill Withers and Peter Gabriel. The album opens with Radio Silence, which is best described as a vocal and instrumental collage. Blake sings a few different phrases, and layers them on top of a combination of Rhodes piano sounds, rhythm and bass style percussion and vocal textures. He uses a variety of interesting editing techniques on the vocals, and arranges them on top of repetitive and gritty synthesizer sounds which set the piece apart from the sound dominating the indie music market at the moment. It is a definite highlight on the album.
I am struck by the beautiful way in which Blake combines his classical piano and vocal training with strange electronic textures, RNB rhythms and simple lyricism. It is undoubtedly a risky concoction of otherwise unfamiliar elements, and this is what makes the album so easy to listen to. While Pitchfork describes Blake’s lyrics as lacking in maturity, I would disagree and argue that Blake expresses simple sentiments quite beautifully, especially in the context of an unpredictable musical landscape. The combination results in an intrepid sound with the capacity to steal your focus away from anything else you’re doing.
The title track resonated with me on a few levels. It alludes to the greyness of depression or melancholic spells and the inability to experience the vitality that seems so easily attainable to others. “You must not be looking / you must not be trying like I’m trying” touches on the struggle of communicating the experience to those who have not experienced it and the layered beauty of the song contextualises the tendency towards depression within the greater image of the creative mind. Perhaps this is not what Blake intended, but it is an interpretation, and a soul soothing one at that.
I would agree with Pitchfork’s assessment that Meet You In the Maze is one of the best moments on the Colour in Anything. Blake steals a page out of Justin Vernon’s book by layering his own vocal recordings - singing the melody at different pitches in harmony with one another. The effect is somewhere between a lullaby and a traditional baroque piece. It is a gentle, soothing piece that feels unplugged, although Blake’s characteristic auto tune style of editing is not absent from it.
I’m quite sure that each listener will appreciate something different about the avant-garde and richly layered creation that Blake has offered us this year. The best way to experience the eclectic combination of elements that make up The Colour In Anything is, of course, to listen to it on a good quality sound system or pair of headphones with the volume turned up high. I’d be curious to hear about your favourite moments in The Colour In Anything too.
