Photo: Tom Andrew/Blackwall
James Blake is one of the few artists who, from behind or almost hidden, he gave shape to modern pop music without much of the general public knowing he was there or even knowing his name.. How else can you define a man who, in recent years, has collaborated with (in no particular order) Travis Scott, Rosalía, Frank Ocean, Beyoncé, Kendrick Lamar, Metro Boomin, Slowthai, Labrinth and many others?
Own The rap and R&B scene has become extremely receptive to the English producer, which received worldwide recognition from him, truly belongs to the elite. But not only, this path of his approach to the modern star system has obviously left some scars, which turned the formerly niche DJ-singer into a modern icon. Of course, pop in the broad sense, not pop music like Dua Lipa, but over the years and through recordings, Blake has honed and refined his musical explorations into a song form that is both structured and intelligent, but also truly accessible to everyone. Speaking about his early years, Mark Fisher said that listening to James Blake was like “seeing a ghost take shape”
and over the past ten years, this ghost has not only taken shape, but has left its haunted house to take over the world.In light of all this, it is interesting to see him return so far back to his first great love, now that he can view the world of music from a privileged position. And that’s not such a hidden goal.Robot game to heaven‘, his new album, to try to retrace his steps and reconcile the experiences of his past with what is his present.
‘Robot game to heaven‘ he no longer wants to make audiences cry, he wants to make them dance, and although this is his sixth solo album, it is his first truly club album. But despite all the good intentions accompanying the project, the result is, to put it mildly, questionableIt’s not like it’s a completely unforgettable album, but it is. a work without sharpness, devoid of truly brilliant ideas or that they actually manage to transport the listener to another dimension. And this, of course, is curious in light of the fact that every record Blake made had the ability – sometimes more successful, sometimes less – to transport the listener into the world of the author. It’s hard to say whether this fragility is due to the fact that it was produced between a studio and a club.created specifically for live performance, and therefore takes its final form not when listening to headphones, but live (and we’ve come to this).
I still have the feeling that this is a passable album.not very focused, born with the best intentions and even some interesting moments – like ‘Loading
‘, which manages to intelligently condense most of the dancing part with the singing, or ‘Retreat‘ which becomes hypnotic with its percussive rhythms, or ‘Great Hammerwith a Ragga Twins sample but which then gets lost along the way due to a song scheme that remains poor and struggles to really take off.Definitely, James Blake’s return to the dance floor turns out to be a double-edged sword with an album that can’t be that effective. A real shame because there could have been so much more, but perhaps after so many years as a quasi-pop writer and singer, the luster of his early days has been lost a little.
AND since we were talking about concerts as a complementary experience to this studio album, we went to a James Blake concert. coincided with the release of James Blake’s album, at Fabrique in Milanwhere the artist came to open hisRobot game to heaven‘, and a live performance changes the perception of the album on headphones. It is absolutely true that during personal and private listening the project does not particularly stand out, but live it takes on a completely different dimension.
Unconvincing tracks, difficult balance between vocals and production. the same productions that just recently seemed boring come to life and become concrete, solid and powerful. This is undoubtedly thanks to a confident, rich and varied live performance, where the English artist seems more confident than ever in his repertoire and his creative abilities, allowing him to easily switch between his more vocal side and his more vocal side. director. The piano parts are exciting, where his artistic sensitivity is more acute. But he also knew where and how to incorporate his great classics into the set list, like “Limit to your love” and “Retrograde,” which drove audiences wild when paired with new songs.
The entire concert was conducted by him, his guitarist and drummer with the calmness of an orchestra conductor., and people listened to his voice. Although, perhaps, the most unexpected moment was the closing of the concert, when it seemed that everything was already over, the album was ready, the most famous hits had been sung: how could you properly close the first date of the tour? The answer he gave to his audience was a fifteen-minute set that turned Fabrique into a real dance floor, causing people to dance, completely caught off guard, until the sweet ending ends with a few words spoken out loud and the curtain falling. A truly unforgettable experience for everyone who was there.
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09.21.2023