- Audio CD (7 Feb. 2011)
- Number of Discs: 1
- Format: CD
- Label: Atlas / A&M
- ASIN: B004CR5TD0
- Other Editions: Audio CD | Vinyl | MP3 Download
- Average Customer Review: 3.6 out of 5 stars See all reviews (65 customer reviews)
- Amazon Bestsellers Rank: 55,170 in Music (See Top 100 in Music)
James Blake CD
|Price:||£6.50 & FREE Delivery in the UK on orders over £20. Details|
Does not apply to gift orders. See Terms and Conditions for important information about costs that may apply for the MP3 version in case of returns and cancellations.
- Choose from over 13,000 locations across the UK
- Prime members get unlimited deliveries at no additional cost
- Find your preferred location and add it to your address book
- Dispatch to this address when you check out
Frequently Bought Together
Customers Who Bought This Item Also Bought
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'.
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.
Find more music at the BBC This link will take you off Amazon in a new window
Top Customer Reviews
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.Read more ›
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.Read more ›
Stripping down the music even further from the already sparse textures of his CMYK and Klavierwerke EPs, most of the tracks are built on pianos set alongside soft ambient loops, undercut by the distinctive half-time drumbeat that the genre is well known for. However, tracks like 'Lindisfarne I' take this minimalist approach to the extreme, relying almost entirely on Blake's layered and treated vocals - a gambit that's not entirely successful when combined with oft-meandering song structures and vague lyrics bordering on the equivocal. Too frequently, as on album closer 'Measurements', or the aimless cut-up 'Why Don't You Call Me', the songs lose their sense of direction and grounding, simply being content to drift, albeit pleasantly, to understated conclusions.
Despite these compositional flaws, when Blake works within more song-oriented strictures, his somewhat unique sound can reap stunning results. On the Feist cover 'Limit To Your Love', nimble piano riffs and an untreated, cracked vocal combine to subtle yet devastating effect, before dropping out to be replaced with shuddering sub-bass and metronomic drums, only Blake's isolated, lonely vocals remaining.Read more ›
Most Recent Customer Reviews
Interesting music and very original, especially for something so commercial. However, I should warn anyone who likes music with good lyrics to be to look out, unfortunately James... Read morePublished 4 months ago by J. Higham
What is this supposed to be? Almost impossible to listen to some tracks more than once. This is a very lazy excuse for creativity.Published 9 months ago by A. C. Duxbury
have this item on cd . so I thought I`d like it on vinyl too . Unfortunately it jumps on one side .Not what I`d expect from a new and sealed item.Published 10 months ago by s_b_1971
This product's forum
Search Customer Discussions