Infatuation and the duality of romanticism have served as a point of fixation for artists the world over for as long as there has been a demand for product. It makes sense too, a universal idea that in some way, shape or form is familiar and unique to creators and consumers alike, breaking that invisible wall that tends to separate the celebrity and the everyday joe. But with such broad representation, it feels as if it has become the fail-safe and cop-out for those who run their careers by the books. Preying on the idea that to some degree, we may resonate, regardless of how generic a rendition it may be. This is where those who go above and beyond to embody our primal desires, set themselves apart from the crowd.
On his latest EP, ‘Before’, singer, songwriter, and producer James Blake, seeks to explore this full-bodied tale of love through a bizarre combination of tortuous heartbreak, pampered with an eclectic blend of synth-wave and psychedelic, alternative pop. Blake poses a fusion that few would dream of attempting and a sound that even fewer could pull off, but it is that boldness and ear for these cutting edge experiments that has constantly drawn me back to Blake’s obscure catalog. On paper, everything about the EP shouldn’t work, but this is the same apprehension I’ve always held regardless of whatever multifaceted Frankenstein invention Blake has cooked up. ‘Before’ is anything but your run of the mill conflict of love sonically. With its baron melodramatic scapes, partnered with these infectious movements, I’m constantly left dazed as to whether or not I should cry or dance, and at the end of it all, I get the idea that Blake as a broken protagonist, is left in a similar state of confusion.
The first chance we get to level with Blake in his emotionally deprived epic is on the track ‘I Keep Calling’. Vocally, Blake feels like an audio apparition, his voice a wailing yelp in the midst of this euphoric arrangement as he yearns for the assurance and familiarity of the love he once held. It is that same, feeble, heartache provoked crooning that Blake has made somewhat of a trademark throughout his career, that ignites the dejection and emotionally potent atmosphere of the track. Pampered with these disorientating sulking synths, and emphatic disco-esque production – decked out with all the bells and whistles – and you have what feels like a malfunctioning reality. With every addition to the instrumentation, I feel constricted, as if I were experiencing the cerebral meltdown vicariously through Blake.
What is perhaps most jaw-dropping about ‘Before’ is just how seamlessly Blake condenses these bold juxtapositions and mountainous arrangements together without ever having a moment of density. Sure it feels chaotic and cluttered in the moment, but this is often to the benefit of Blake simulating his infatuation provoked paranoia. The titular track frames Blake in this content light as if he were complete by the presence of his lover. There’s something so heartwarming yet disconcerting with Blake’s obsession and dedication as his ghostly whims sing of the pain of love. The instrumental only enforces the sentiment. From humble beginnings with these unforgiving, baron scapes made of mechanical blocks, to the gushing synths and grand stature of the conclusion, which feels like saviour from the rapture. It’s pure bliss and pure ecstasy, and it feels as if I too am cradled by this nurturing essence. As refreshing as it is to have such a prolific name take such pride and care with his EP sonically, it’s as if Blake shoots himself in the foot with his superficial appreciation for lyrics. In what feels like an attempt to make his brand more approachable and advertisable, the nuanced poet of old comes off as a one-dimensional children’s author on ‘Do You Ever’. I can’t help but feel his usual intricacy has been watered down across the record, but no track exhibits this lacklustre hollowness more than ‘Do You Ever’. With the track’s ghostly, ominous synths and flamboyant, quirky bass embellishments that tease a lost soul, the arrangement is set up to leave James in this torturous state, pondering his self-worth for eternity, and never once receiving closure. With every other aspect firing on all cylinders, I feel the real pessimism is lost in translation as he undermines the potential of such robust subject matter through his surface-level approach.
Where the EP really loses steam and takes a significant dive as a deviant within the James Blake discography is on the closer ‘Summer Of Now’. Here, Blake is framed as a man that has undergone development and has come to terms with his new self. There’s this sage-like self-awareness to it all, as I get the idea that Blake is clearly drawing from his own personal struggles and experiences. Whilst still rife with the optimism of rekindled love, this sonically feels like the a-ha moment of the EP, the only issue, it’s simply not memorable enough. As cinematic as the closer is, I’m simply baffled as to why he restricts himself. Sure it satisfies this holistic, grand picture but James is no stranger to pushing the status quo with these otherworldly arrangements, yet here, it feels like he is holding back. With so many of these breathtaking tracks to his name, ‘Summer Of Now’ is simply an empty shell of Blake’s proven talents and a particularly underwhelming note to end the EP on.
The James Blake discography is one that first and foremost promises a unique experience with each addition, and ‘Before’ is no exception. It’s exterior, an intriguing Jacklyn Hyde experiment that sees Blake drawing influences from synth-wave and his usual niche of alternative r&b, yet beneath the surface, a dejection filled trough of unforgiving emotion. In his attempts to essentially downscale his ambitions, I can’t help but feel traces of the usual nuanced intricacy of Blake’s poeticism is lost. Sure ‘Before’ offers that unique guns blazing experimentation, but I find myself tuning in and out of the narrative due to a lack of lyrical variation. With no room for error, and certainly nowhere to hide, this simmered selection of Blake at his most gentrified and commercially appealing boasts potential, but in the grand scheme of things, feels a little too convenient and under-developed. I can’t help but feel that Blake isn’t putting his best foot forward here. With his more digestible guise, It feels like the work of an avant-garde Mike Posner rather than the virtuoso himself.
Before – James Blake – 7/10
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