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James Blake [VINYL]


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£25.93 & FREE Delivery in the UK. Details Only 9 left in stock (more on the way). Dispatched and sold by Amazon in certified Frustration-Free Packaging. Gift-wrap available.
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Music

Image of album by James Blake

Photos

Image of James Blake

Biography

Overgrown Biography
2013

It all started, says James Blake, with Joni Mitchell.

His favorite singer and songwriter came to see him at the Troubadour in Los Angeles two years ago and hung around afterwards to talk.

"She's an oracle," smiles James. "I learned a lot just from meeting her."

What they talked about most was the idea of ... Read more in Amazon's James Blake Store

Visit Amazon's James Blake Store
for 9 albums, 10 photos, discussions, and more.

Frequently Bought Together

James Blake [VINYL] + Overgrown + Enough Thunder
Price For All Three: £38.33

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Product Features

  • Ships in Certified Frustration-Free Packaging

Product details

  • Vinyl (7 Feb. 2011)
  • Number of Discs: 2
  • Label: Polydor Group
  • ASIN: B004I9CR5K
  • Other Editions: Audio CD  |  Vinyl  |  MP3 Download
  • Average Customer Review: 3.7 out of 5 stars  See all reviews (58 customer reviews)
  • Amazon Bestsellers Rank: 79,433 in Music (See Top 100 in Music)

Disc: 1
1. Tep And The Logic
2. Unluck
3. The Wilhelm Scream
4. I Never Learnt To Share
5. Lindesfarne I
6. Lindesfarne II
Disc: 2
1. Limit To Your Love
2. Give Me My Month
3. To Care (Like You)
4. Why Don't You Call Me?
5. I Mind
6. Measurements
7. You Know Your Youth

Product Description

Product Description

Debut studio album by the British dubstep producer. Blake came second in the BBC's 'Sound of 2011' shortlist and was expected to achieve big things in the UK in 2011. The album includes the singles 'Limit to Your Love' and 'The Wilhelm Scream'.

BBC Review

Since James Blake’s breakout remix of Untold’s Stop What You’re Doing in late 2009 – which saw him twist up the original with beats taken beyond the pale – he’s pushed his artistic limits beyond recognition. A blinding 12-month period saw him birth three groundbreaking EPs (The Bells Sketch, CMYK and Klavierwerke), drawing on electronic music, UK bass, commercial RnB, gospel and ambient. And then there was his stunning cover of Feist’s Limit to Your Love, by all standards his most accessible song to date – if you take its rib-crushing sub-bass away from the delicate piano-and-vocal foray at the helm.

On his long-awaited debut album, Blake moves his informed, excited mastery into yet another sphere; instead of manipulating tension through a library of beats, he now mostly draws on silence and vocal treatment. Take The Wilhelm Scream, where Blake’s jittery, double-tracked vocals are forever trying to catch up with the beat. The gaps make the song’s climax all the more of a spectacle.

Not all of this album’s silences, however, are build-ups to breakdowns. The tension of Unluck’s initial yearning and snappy beats become buried low down in the mix by the end, instead of crashing and burning. I Never Learnt to Share is similar, becoming more dissonant and riled as it unfolds before bursting and then coming up again, struggling for air. To Care (Like You) follows a similar non-format, starting with an untreated vocal before morphing into something equally bleak but entirely robotic, stone-cold. There’s no time for luring the listener in to a false sense of comfort, except on the gospel-influenced Measurements, the most familiar-sounding song here.

This 22-year-old Londoner certainly isn’t shy of ambition, and but that’s not to say this album is without its failings; Lindesfarne I and II, a universe away from the swagger and uppers of CMYK’s top line and sub-bass, are a step behind. The compressed silences and formlessly spacious sounds are overwhelming through headphones for baser reasons. Give Me My Month similarly adds little, working only as an interlude.

Aside from the hype, this album is by no means a feasible breakthrough into the mainstream – there’s not stride enough for that. But when it’s at its best, it’s boundary-breaking – and Blake is indeed a rare specimen, with many faces, each obscured. Each playback draws the listener in closer towards to the record’s core, like a dimmer switch being raised incrementally – a true beauty to behold.

--Natalie Shaw

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Customer Reviews

3.7 out of 5 stars

Most Helpful Customer Reviews

6 of 6 people found the following review helpful By Kenneth on 14 Nov. 2012
Format: Audio CD
Living in a time where the music consumer can comfortably access and listen to any artist he or she chooses, past or present, I think there's an onus like no other on this generation of new artists to produce music that's truly distinctive. Whether James Blake conciously understands this or not is debatable, however the uniqueness of his self titled debut is certainly not up for questioning. The computerized experimentalism of Blake's highly acclaimed slew of 2010 ep's, already saw him crafting a unique lane for himself yet he upped the anti on this eponymous release by moving away from the laptop somewhat, to present his elegiac choir-esque singing voice as the main selling point here. Not since Kid A has an artist been able to match emotive balladeering and forward thinking electronica as successsfully as James Blake does here, his songs each one brilliant in their own right, are equal parts challenging and emotionally provocative.

The soulful sound of Blakes ineffable vocals were heard permeating over spartan piano chords and glacial snare snaps when his version of Feist's "Limit To Your Love" dropped before the release of this album and I (perhaps like many) thought that the excellence of that track would dwarf any songs that sat beside it on a full length LP. "Unluck" quickly sweeps away any pessismistic doubts you may of had, with it's enchanting array of quicksilver clicks, mmanipulated synths and multi layered vocals coming together to mesmerizing effect. Although James Blake uses vocoder and autotune in this opener, the humanity in "Unluck" somehow remains completely intact, it's as though JB has unlocked the dormant power lieing in machines to enhance our voice's ability to convey sadness and despondancy.
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13 of 15 people found the following review helpful By Twig on 8 Feb. 2011
Format: Audio CD
I love it when reviews vary. Two days old, and it's already either 'hugely disappointing' or 'a brilliant debut'. I'm with the latter on this. I think this album is a gem.

I became aware of James Blake through Klavierwerke, which kind of insinuated itself into my consciousness. Not this. It's been absolutely instant, and I can't stop listening to it.

The overall sound is tremendous - in the same territory perhaps as Burial's Untrue. Blake's voice evokes, when untreated, Antony Hegarty, Justin Vernon, and of course Al Green. Simple phrases are repeated, heightening their impact, and the tunes are delicately accompanied by a range of keyboards, from smoky blues piano to electronica which, through their faltering, sometimes almost sobbing sounds, heighten the emotion even further. Styles range from heartbreaking soul to uplifting gospel. And there's even a hint of prog rock about the keyboards: some Nice piano noodling, some ELP synth squealings. Bizarre and intriguing.

Listening to this album is, for me, a raw and intense experience. Even the quiet bits. It's like eavesdropping on someone's innermost thoughts; hopes, fears, doubts, weaknesses. Picking up on misunderstandings and broken relationships. Yet it is so beautiful, so self aware, so laden with love, how could everything not turn out ok in the end?

TWO WEEKS LATER

The review situation is still fascinating. Those who low star it can be broken down into two types. 1. Those who have heard his previous dubstep material and are disappointed by this more soul-based album. 2. Those who like Limit to Your Love and/or The Wilhelm Scream and are disappointed it isn't all like that.

For me, the album just gets better and better.
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1 of 1 people found the following review helpful By james berry on 13 Nov. 2013
Format: Audio CD Verified Purchase
I bought this together with Overgrown I prefer this.What a find this guy is. Very original artist and part of a coming new wave af British talent.Well done James
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1 of 1 people found the following review helpful By Victor Preston on 1 Nov. 2013
Format: Audio CD
james blake's overgrown was the unexpected winner of the 2013 mercury prize
my money was on david bowie's brilliant rebirth
this was his 2011 debut album
still new music is what it's all about
even if this is just another bedroom computer design
at under £6 for 2cds it's worth a punt!
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8 of 10 people found the following review helpful By Amazon Customer on 9 Jun. 2011
Format: MP3 Download Verified Purchase
Much of this music lives in the hinterland between melody and silence. There's almost too much silence and not enough music, but in the end the subtle and plaintive melodies win out - just. He's probably a genius, but he could be a used car salesman. I think he's probably a genius.
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4 of 5 people found the following review helpful By Mr. Jcp Curtoys on 8 Jun. 2011
Format: Audio CD
Have been listening to this album on and off for 3 months or so. He had me with Limit to your love, the other tracks have taken longer to sink in, mainly because they are so unusual - mutiliated voices, quirky electronics, off-time beats and silence, all used to intruiging effect. I have gone on to buy the other EPs, all of which I am enjoying.

I went to see him in Manchester last night. He is an accomplished player and performer and gave a great, if a little short, show. Then listened to the whole album on the way home and got it even more strongly. This is interesting music and worth the hard work that the strange, spiky arrangements and compositions present. I can't wait to hear what he does next.
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19 of 25 people found the following review helpful By Red on Black TOP 50 REVIEWERVINE VOICE on 7 Feb. 2011
Format: Audio CD
James Blake is a precocious talent and arrived with a large splash following his stunning cover of Feist's beautifully elegiac "Limit to your love" included here in all its slow burning glory. As an artist he is a disciple of the "less is more" school with this debut album characterized by a predominant sparsity in certain songs often stripping out layers of instrumentation in favour of voice, bass loops and synth (and in the case of Lindisfarne 1 a straight vocoderised acappella)

The album soulful opener "Unluck" does remind of Bon Iver's "Woods" from last years "Blood Bank EP" with its use of vocoder style vocals but ultimately differs with its deep clicks and an minimalist intensity. It is followed by "Wilhelm's scream" a song that has been distributed freely on music blogs and one that has spent so much time on my PC speakers it could claim squatting rights. The huge debt, which Blake owes to dubstep, is revealed and builds to a digital intensity around the continual refrain of the lines "I don't know about my love anymore/all I know is I'm falling". This should be the starting point for the curious listener. "I never learned to share" is again based around a repetitive lyric but with all sort of electronic shenanigans going on in the background almost suggesting a church like ambience.

Blake's debut is often an introspective and moody piece of work, which can make The XX look like the Beach Boys in the fun stakes. But this is not a criticism; with some songs drifting along at a snails pace it can lead you to think that they may have finished, yet it gives the album a Sinatra like "wee small hours" quality. This will mean that Blake's debut will primarily be a late night feast.
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