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1. James Blake Overgrown Rare
2. James Blake Overgrown Album Zip
3. James Blake Overgrown Album

James Blake Overgrown Deluxe Edition 320kbps Littlefairy Rg Zip - DOWNLOAD James Blake Enough Thunder EP 2011 320KBPS vAin4us, 59.06 MB, 94, 4. James Blake Overgrown Deluxe Edition 320kbps LittleFairy RG, 99.22 MB, 167, 17. View credits, reviews, tracks and shop for the 2013 CD release of 'Overgrown' on Discogs.

Blake is referring to Emily Dickinson's Charlotte Bronte-inspired poem 'All overgrown by cunning moss,' which is about the impermanence of life, a sentiment that also runs through Overgrown. The song's main sentiment of wanting to be around, still, 'when everything's overgrown' was inspired by an encounter Blake had with Joni Mitchell. Like James Blake, though, Overgrown repays repeated listening. As with the first album, there is a simultaneous feeling that the tracks are both congested and unfinished, and that incompleteness—the sketchy melodies, the half-hooks, the repeated lines that play like clues to some emotional event never disclosed in the songs themselves—may.

Bio
Influenced by the likes of D'Angelo and Stevie Wonder along with Burial and Mount Kimbie, London-based producer, singer, and songwriter James Blake first gave the world a taste of his quirky, R&B-sampling strain of dubstep in 2009 when his Air & Lack Thereof 12' appeared on the Hemlock label. Blake received quite the endorsement when the heralded Soul Jazz label picked the track up for their Steppas' Delight 2 compilation that same year. Blake raised his profile every few months during 2010 -- something of a breakout year for him -- with a succession of warmly received 12' releases: The Bells Sketch (Hessle Audio, March), CMYK (R&S, June), Klavierwerke (R&S, October), and the single-sided 'Limit to Your Love' (Atlas, November). The last of the series -- a cover of a song by Feist, in which Blake's heartfelt vocal was placed front and center -- served as a precursor to his first full-length, issued the following February. Titled James Blake, it left a major impression, and was eventually nominated for a Mercury Prize but lost to PJ Harvey's Let England Shake.
OrderBlake returned to Hemlock for the Order 12', then reverted to Atlas for Enough Thunder, a six-track EP with a Bon Iver collaboration and a cover of Joni Mitchell's 'A Case of You.' Yet another 12', Love What Happened Here, was out by the end of 2011. Blake spent much of 2012 working on his second album, releasing new work under the name Harmonimix, and performing less often as the new songs percolated. In April 2013, second album Overgrown appeared, featuring collaborations with Brian Eno and RZA. It won that year's Mercury Prize, and Blake's songwriting was acknowledged when 'Retrograde,' one of the album's highlights, won an Ivor Novello Award in the category of Best Contemporary Song. Little, apart from an Airhead collaboration and an EP on his 1-800 Dinosaur label, was heard from Blake for three years. He resurfaced in April 2016 with contributions to Beyoncé's Lemonade. A couple weeks later, The Colour in Anything, his third album, arrived with only a few hours of advance notice. Recorded in England and at Rick Rubin's studio in Malibu, California, it included input from Bon Iver and Frank Ocean. The album peaked within the Top 40 of the Billboard 200 and topped the U.S. Dance/Electronic chart. That year, Blake also contributed to Frank Ocean's Endless, Vince Staples' Prima Donna, and Travi$ Scott's Birds in the Trap Sing McKnight. He continued into 2017 with appearances on Jay-Z's 4:44 and Mount Kimbie's Love What Survives, while also producing 'Element' for Kendrick Lamar's DAMN..

I had a professor in college once tell me that John Milton was the most humorless poet he knew of. He could be warm and ironic, but he never joked-- he was up to something too serious for that. You could say the same of James Blake, whose new album Overgrown was released this week. It's the second LP from the 24-year-old British musician who has more than twice that many EPs to his name. Blake seems to have backed into music production with the same diffidence with which he's embraced singing, his first album a groundwork of tightly-focused electronic recordings that were generically referred to as post-dubstep. Critics and fans still bicker over that classification, while Blake himself has gently evaded it, especially as his textured, sample-heavy music made room for austere piano ballads and torch songs. Overgrown is as cool-headed and vocally driven as Blake's self-titled 2011 debut or the even quieter EP that followed it, 2012's Enough Thunder. But if Blake hardly seems to break a sweat across his 10 new tracks, he doesn't seem ready to crack a smile either.

That's not such a bad thing-- Blake's music can feel like an emotional Rubik's cube, monochromatically melancholy, but constantly searching for a way out, or a way to let someone else in. 'I don't know about my love,' he sang on 'The Wilhelm Scream,' 'All that I know is I'm turning, turning, turning, turning.' If that made for a rather cerebral kind of emotionalism, it was often a little abstracted, and otherwise personal lyrics (like 'My brother and my sister don't speak to me / but I don't blame them' in 'I Never Learnt to Share') could flatten out under song structures based in repetition. On 'I Mind,' for instance, Blake chanted those two syllables the way kids throw pebbles into water to watch it ripple. It's intriguing, but you don't stop to consider what it is that he minds, and you don't necessarily care that you don't.

James Blake Overgrown Rare

Overgrown generally has less formal experimentation, leaving more room for a narrative impulse. Don't hold your breath for Blake to write a latter-day 'Hurricane,' but the snatches of detail that do turn up can't help but catch your eye. 'Take a Fall for Me' features rap verses by the Wu-Tang Clan's RZA recounting 'candlelight dinners and fish 'n' chips with vinegar, with a glass of cold stout or wine or something similar [...] strong pheromones and cologne [...] the stench of her.' Of course, these are RZA's lines, not Blake's, but the song is distinct from other high-profile collaborations like last year's 'Fall Creek Choir Boys,' where Blake and Bon Iver's Justin Vernon laid complementary vocals on top of each other, effectively sharing a lyrical 'I.' Here, Blake's voice can only be heard delivering short refrains like a one-man Greek chorus-- 'take a fall for me' and 'you can't marry her yet'-- but they're addressed to someone else who's present and probably listening. In what might be a first for Blake, there's sociability, and even sympathy, in loneliness.

Blake has always been an ace at making use of auditory negative space. Abrupt stops and lingering pauses in the songs on CMYK and Klavierwerke prevented their minced, hiccuping textures from dissolving into themselves. As a result, small sounds became big. By comparison, 'overgrown' only seems to describe about half of the music on the album. The only other major collaboration is possibly its densest-- 'Digital Lion' was produced with Brian Eno, and it bears some trace (if only some) of the elder statesman's impressionistic touch. Like 'Retrograde' and 'Voyeur,' the song is washed in snowy ambient tones that sometimes kick into a siren-like wail. It's intriguingly kinetic, but tends to stay in one place like a whirling dervish. 'Voyeur' throws down a clubby beat that strikes me as a bit silly, while 'Retrograde' handles these relations of scale with greater finesse. Blake's voice is pliant and clear, and it doesn't drown in the flood of urgent buzzing he lets loose over the whole thing.

My aforementioned professor said we shouldn't hesitate to praise beautiful things, and Blake's singing deserves positive attention. The usual suspects once dismissed his heavy-lidded cover of Joni Mitchell's 'A Case of You' as a slavish regurgitation, but that criticism focuses more on a notion of how covers should sound than on the simple power of Blake's voice. I can't think of many other vocalists who can deliver such icy, minimal melodies without sounding tranq'ed out (no disrespect, Romy Madley Croft). Blake moved toward sparer, more vocal arrangements around the same time that EDM and Skrillex-style dubstep were surging into mainstream pop. Familiar taxonomies sometimes lagged behind, and it was a few years before Blake was being referred to as a musician rather than a DJ. No sooner had that happened than he acquired yet another label-- 'singer-songwriter'-- and sometimes in a spirit of demotion.

But whatever your position on what Blake does best or what he should be called while doing it, his piano ballads deliver an undeniable punch to the chest as powerful as anything by similar artists like Perfume Genius. 'Our Love Comes Back' is as elegiac as older highlights like 'We Might Feel Unsound' or 'Measurements,' and when he sings 'please don't let me hurt you more' on 'DLM,' it's as if you realize for the first time how exquisitely miserable it feels to be really, truly sorry.

And for what, exactly? We may never find out. Perhaps the new album's greatest merit is that it feels roomier than anything else Blake has done. Earlier songs, for all their impressive workmanship, could feel a little airless and single-minded. There's a breezier confidence governing Overgrown, but it's not enough for Blake to shed his armor or tell all his secrets. But who would want him to? 'I don't want to be a star,' he sings on the title track, 'but a stone on the shore.' That's a less isolating position, but not by much. It's possible too that Blake's just making a self-deprecating joke about becoming famous, but if you ask me, he probably isn't.

James Blake Overgrown Album Zip

--Rich Bellis

James Blake Overgrown Album

Photo via Stereogum