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James Blake

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James Blake album cover
The Wilhelm Scream
I Never Learnt To Share
Lindisfarne I
Lindisfarne II
Limit To Your Love
Give Me My Month
To Care (Like You)
Why Don't You Call Me
I Mind
Album Information

Total Tracks: 11   Total Length: 37:55

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Wondering Sound

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Ilya Zinger


Laments delivered via slow croon and carefully-mapped piano stabs
2011 | Label: Universal Records

Young, talented and unabashedly experimental, James Blake is in an enviable position these days. In a little more than a year, while still attending University, Blake's become the go-to guy for consistently mind-expanding dubstep production — especially the absence of new material from Burial and Hyperdub's output reduced to a slow churn. In 2010, Blake's two EPs, CMYK and Klavierwerke, were brash attempts at exploring the relatively young sub-genre: manipulating an … read more »

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This is crap !


Soulful ? Hip Hop ? Try Flying Lotus or Raphael Saadiq. I don't get it - this is hyped up junk. I made a better abum than this when my friend and I covered "Wish You Were Here" in his basement using a washing machine and other assorted devices. You want fresh and new - try Tune-Yards.

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Ugh, auto-tune hell


Some decent beats & melodies, but the auto-tune vocals are awful.

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Emusic loses another great label in R&S


Anyone else notice that all the R&S releases disappeared (including the stunning James Blake Klavierwerke single)? Drag drag drag.

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Reign of the Leaky Faucet


Great album! It may be minimal but its filled with soul. All of the songs consist of a keyboard whether electronic or natural, leaky faucet/water drip drums (meaning they are very minimal and somehow remind me of water dripping from a leaky faucet), and BASS. Most of the times it's PHAT bass worthy of a ghetto drive-by that is if you don't want to be stealthy. In some songs it almost approaches dubstep status at the end of "I Never Learnt to Share" and "Limit to Your Love" two really great songs. But don't worry folks this is far from a dubstep album, mainly it seems to have soul and hip-hop at its roots and some minimal electronic holding it all together. The vocals on this album are paired perfectly with the instrumentals which I think would be pointless without the vocals due to their minimal nature. I think Blake seems far from bored. Opposingly, I think he is fully engaged in his songs on this album. The Lyrics are nothing special but his vocal variations/experimentations are grea

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Why vocals?


The vocals are a distraction here. Prefer the earlier abstract instruments of Blake. He sounds bored here...

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James Blake


He's fantastic. In a time when everybody sounds the same. Heres a guy whose sound is different then anything you will ever hear. Who would think the English knew anything about Bass. He has a original voice, and true talent. At a time when most of what you hear on the radio is talentless. If you like real music, you'll love James Blake.

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Genius Genre Blend


James Blake's self-titled full-length debut is pure genius. Or, if not genius, worth your time and attention. This record is similar to what Portishead and Massive Attack have done blending trip hop and vocal/traditional songwriting elements. Blake has successfully blended soul/R&B with electronica elements (primarily dubstep). It's wrong to say this record is *not* electronica. It is. But it's a Portishead or Massive Attack kind of electronica. For that reason alone, it's worth listening to. I am going to keep my eye on James Blake. I can't wait for his next effort.

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This is a step removed from Burial, wisely avoiding pigeon holed comparisons, and in my opinion demonstrates dub step as a genre has room for more than one good idea. Worth listening to for his affecting vocals. Nice.

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Speechless speechless. Future future.Timeless timeless.

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skip the beat?!?


Awesome. Sometimes a bit like Antony but in general unique. Standout is limit to your love.

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During 2009 and 2010, James Blake issued a clutch of abstract dubstep singles on Hemlock, Hessle Audio, and R&S. Each release increased anticipation for the producer’s next move as he continually shuffled the deck on his bristly, off-center, and generally groove-less tracks, some of which incorporated vocals — he sampled Kelis and Aaliyah on “CMYK,” for instance — or his own voice, heavily processed. The Klavierwerke EP, the last in the series, was the most stripped down of the bunch. The day after it was released, Blake uploaded a video for his dramatic cover version of Feist’s “Limit to Your Love,” which indicated that the focus on his voice and sparse backing would continue. Consisting of Blake’s pensive vocal, a simple but affecting piano, and recurring beat weighed down by sub-bass, it’s one of the most straightforward tracks on Blake’s brief debut album. The following “Give Me My Month” deviates most from Blake’s vinyl output; it’s a wistful piano-and-voice ballad that has far more in common with Procol Harum than any given contemporary linked to Blake. The rest of the tracks are more like exercises in sound manipulation and reduction than songs. The approach is no fault, but Blake pares it down to such an extent that the material occasionally sounds not just tentative but feeble, fatigued, even, as on “I Never Learnt to Share,” where one creaky line is repeated and treated throughout, placed over swelling synthesizer frequencies and a stamping beat. “The Wilhelm Scream,” one of the album’s highlights, is far more effective, a ballad with a pulse that increases in intensity with skillfully deployed reverb and surging waves of soft noise. – Andy Kellman

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