James Blake Overgrown Rar

James Blake – James Blake – 2011 – (Vinyl) 320 kbps, 13. You Know Your Youth (02:15) 320 kbps MP3. Code: Select All. Blake (320).rar. Open the Actions menu and click Resend Message. Once loaded, the user can look through the series of words, flip them over to get the English meaning, as well as view the Pinyin pronunciation. James Blake Overgrown Deluxe Edition 320kbps Littlefairy Rg Zip. Included after effects cc rar and later full hd resolution 1920× 1080. After effects version cc+.

Overview

With his 2011 debut full-length, dubstep-via-fractured R&B producer James Blake delivered on the promise of his earlier singles while at the same time overhauling his sound, moving away somewhat from the sample-heavy dubstep of those tracks to a sparser atmosphere. The album focused more on Blake's equally haunted piano and vocal lines, submerged elements of implied rhythms, dubstep's subsonic bass resonance, and ghostly samples to create a picture of restraint and contained emotional upheaval. The album felt not so much like the calm before the storm, but like silently watching a hurricane slowly and soundlessly move closer from the distance. Sophomore album Overgrown offers a similar feeling, but Blake approaches the songs here with even more restraint and a subtly deconstructed take on pop. Subtlety is perhaps Blake's greatest attribute on Overgrown, with what could even be the album's heaviest moments blurring into a pleasantly melancholy whole through deft production choices. Take for instance 'Take a Fall for Me,' a partially rhythm-less track featuring Wu-Tang's RZA in an extended set of rhymes over a looping sample of static and processed backing vocals, and samples that recall Tricky's earliest work. The jagged edges of a track like this could render it awkward with more obvious production, but Blake's touch pushes even RZA's toughest verses into a rainy, lamenting place. The skeletal piano of the debut returns on tracks like 'DLM' or the gorgeous album-closer 'Our Love Comes Back,' which has the faintest hints of Chet Baker's springtime loneliness buried in Blake's mumbling blue-eyed R&B vocals. Brian Eno even shows up to collaborate on the sputtering rhythms of 'Digital Lion,' perhaps the most hyperactive track here, though only in relative terms. Somewhere between the vacant echoes of dub and trip-hop, dubstep's sample-slicing production, and the contained heartbreak of a singer/songwriter playing piano to himself in an empty room, Blake has crafted Overgrown. It's understated to the point of invisibility at times, with Blake subtracting even himself from the songs, allowing the lead vocals or hooks to be consumed by the song at large. Though the stormy textures and somber reflections are pretty specific to a particular mood, Overgrown finds and fits that mood perfectly. While it might take listeners a few spins to find the right head space for the album, once they get there, it's an easy place to get lost in.

Overgrown

Year: 2013

Artist: James Blake

Label: Universal Republic

This post is in partnership with Consequence of Sound, an online music publication devoted to the ever growing and always thriving worldwide music scene.

James Blake Overgrown Album

Some people were born with the innate ability to seduce. Some can do it with their looks, others with words or behavior. In addition to having really good hair, James Blake can seduce with his voice. His lithe, melodic croon entangles perfectly with elegant electronic arrangements — a distinct style that gives Blake room to move around as a songwriter. He’s always tweaking and evolving his sound, which makes every release an anticipated occasion for fans of nu-R&B and post-dubstep.

Those electronics put Blake on the map. His 2011 self-titled debut was a jittery 40 minutes of unorthodox beats and rhythmic manipulations. Vocals would come and go at a moment’s notice, bouncing from left channel to right channel. Yet there was an ominous mood and cohesion to the music. The album charted well in almost every country except the United States.

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Which brings us to Overgrown, the latest realization of everything Blake’s capable of as a songwriter and vocalist. Building off of recent singles and EPs, he’s crafted an album of full-on electro R&B. Gone is the glitchy dubstep; the mood and cohesion remain. A press release for Overgrown states that Blake worked with Björk, Drake, and Bon Iver when composing the album — and if you listen hard enough, you can hear their ideas being filtered through Blake’s own stylings. The eponymous opening track is just the pattering of a minimal beat and that gentle croon. He’s really improved as a singer, hitting high notes and low notes that he’s never even attempted before. His words are impressionistic metaphors: “If that is how it is / I don’t want to be a star / Or a stone on the shore.”

Naturally, the simplicity of Overgrown downplays the dubstep seen in Blake’s early work. Although not entirely gone, it’s been reduced to small doses. On “Take a Fall For Me,” Blake puppeteers a creepy beat for guest emcee RZA. It’s a strange collaboration, but it works (and gives hope to future hip-hop endeavors). Overgrown’s only other collab is “Digital Lion,” which was produced by Brian Eno. During instrumental passages, we’re treated to an Eno-Blake jam session — Eno supplying the ambient chords, Blake the quivering samples and snares. This is followed by the record’s most disappointing moment, “Voyeur.” It’s the most dance-oriented track here, but it doesn’t lead anywhere, aimless compared to Overgrown’s more developed songs.

James Blake Overgrown Album Zip

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“Life Round Here” might be Blake’s finest composition yet. An ascending/descending piano riff accompanies a drum machine, as Blake gets all ‘90s R&B. When he sings “Part-time love is the life for me,” there’s a hint of Usher in his delivery.