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In 2014, Blake originally announced that this new release would be titled Radio Silence and was slated for release in early 2015, but as you're now reading this over a year past that date, it's quite apparent something got in the way, and whatever it was, Blake’s reticent nature certainly did not lend itself to buoyant reverie amongst fans (though it did, ironically, lead to literal radio silence).īlake had entered the Frank Ocean (a collaborator on the album) territory (but without the over zealous opining – WHERE ARE YOU FRANK?) in terms of hotly anticipated releases, and there was nothing but confusion and perplexity for some time. Blake had canceled extensive tours in order to capitalize upon creative whims and fancies, which in turn developed a capricious grapevine of rumors and hearsay regarding whether Blake was merely taking extended measures to forge LP3. The Colour in Anything, has been long overdue in the minds of critics and Blake fans alike. Rushmore – Justin Vernon, Ezra Koenig, and Win Butler being the other of the four stone heads – released The Colour in Anything this past Friday, unannounced, but not totally unexpected – two singles were released leading up to the album’s release, creating a sort of pseudo promotional calendar. James Blake, one quarter of the 2010’s indie Mt. Needless to say, there is a glaring trend amongst the artists who elected to forgo the mundane predictability that typically coincides with name brand artists – with many of them even going as far as debuting on the god-forsaken lost cause that is TIDAL – and it appears the taste for purposeful inconsistency has grown more pervasive outside of hip-hop and pop now as well. First there was Rihanna, then Yeezy’s TLOPshenanigans, Beyonce putting Jay-Z on blast in cinemascope, and Drizzy Drake releasing an un-essentially long collection of Toronto woe-odes last week. And a lot of terrible ones do (Byrne).2016 is on a fast track for the most GOAT-worthy 365(ish) days of music this decade, from immortal icons passing on to musical Valhalla, to an inordinate number of “surprise” releases. A lot of great lyricists don't appeal to me (Cohen, Dylan, etc.) because certain styles of lyrics don't appeal to me. Everyone has different opinions on what is affecting. RE: lyrics, there's no point in arguing what makes lyrics good or bad. The album is better because it sounds better, simply put. I said her music is more powerful and meaningful on a personal level because her suffering is more genuine. I never said she's better because her suffering is more real.
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Blake's synth arrangements make the song slightly better than it would be if those weren't composed and played by him, however. He literally sings "Baby I'll just press my hands" for three minutes in a row and it goes on until the end of the song. It revolves around two or three hooks that I find lacking in the substantial department and it drags on and on with that musical concept in mind. I Hope My Life is definitely the worst James Blake song ever imo.
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My personal highlights on this new James Blake record were Put That Away And Talk to Me (which is basically a Kanye West song if he were white, british and very romantic, which I see as an amazing thing), Waves Know Shores (one of the most haunting Blake compositions ever imo), Choose Me (that ending climax is priceless), I Need A Forest Fire (great teamwork by James Blake and Justin Vernon, he was a great addition to the track) and Two Men Down (the melodies and their dynamical delivery on this one are just gorgeous, a insanely well laid tune).