Back to electro for James Blake who offers an album that is both dancing and atmospheric.
Until The Color in Anything, in 2016, James Blake was a winter artist for us. Without being icy, his melancholy, his filtered voice and his piano or keyboard notes directly touched the sensitive areas of the heart rather than warming it.
His work then revealed more pop facets, R
Friends That Break Your Heart, which followed two years later, was even more conventional with its harmonious and heartfelt ballads.
Rather than continuing in this vein, the British artist returned to his electro roots on Playing Robots Into Heaven. Nearly half of the 11 tracks are instrumental, and although they have lyrics, the songs rely primarily on their musicality.
Before releasing his first self-titled album in 2011, James Blake released a series of three EPs that have been described as post-dubstep. Its new offering offers a refined version.
Loading and Big Hammer, the first two very catchy extracts with a surprising construction, announced the dance potential of Playing Robots Into Heaven, but we had no doubt that James Blake was going to create a nightclub hit of the caliber of Tell Me.
It is followed by Fall Back, more lounge, but just as irresistible. I Want You to Know, which uses the chorus of Beautiful sung by Pharrell Williams, is also perfect for the playlist of a trendy restaurant. The odd collage of He’s Been Wonderful doesn’t work as well, however.
Asking to Break, which opens the disc, Fire the Editor and If You Can Hear Me are the pieces that are closest to the James Blake of recent years and they are very beautiful. Just like Night Sky and the title song, two unique compositions in which we let ourselves float.
James Blake has created a magnificent album of ambient music, which is good, summer and winter.