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James Blake - The Colour In Anything (Album Review)

Wednesday, 25 May 2016 Written by Huw Baines

You sense Roald Dahl would have wrung decent mileage out of a man with a radio in his chest; one who might tune easily to the frequencies of some, but be eluded by those he most covets. James Blake plays with the idea very briefly on Radio Silence, the first song on ‘The Colour In Anything’, but the dark whimsy of the image lasts only moments and is quickly replaced by something all too real as he admits: “I don’t know how you feel.”

It’s a sentiment that blossoms as the record, which features striking artwork by Dahl’s long-time illustrator Quentin Blake, rolls on. There is emphasis on communication here, whether that’s expressed lyrically in an interpersonal sense or by Blake's open attitude to collaboration, both on his music and others’, that helped tie up some loose ends during the writing process.

Duly, ‘The Colour in Anything’ often feels like two halves of Blake bleeding together: the old bedroom auteur and the settled, expressive artist who’s decided that his ambitions could be realised with the input of others.

The Blake rule book does remain resolutely intact throughout, but thanks to one striking change in presentation that isn’t the reductive statement it might appear. For, while his treatment of vocals and brass tacks lyricism are still integral to its foundations, here there’s little effort made to neatly demarcate ideas.

Breaking the tape at over 70 minutes in length, this is a sprawling record. Compare it to shifting from the same four walls in London to the expansive hills and ocean views of California if you like, or Blake filling a glass to the brim and deciding to keep pouring, but here you will find countless avenues worth further exploration where once there might have been dead ends.

It helps that the landscape rushes past at walking pace, allowing plenty of time to take in the view. Blake has long played with ideas of space and emptiness in his production, but sometimes here it feels like any ceiling would prove to be too low. High notes ring and are held for what feels like minutes at a time, while his voice is regularly manipulated and elongated into new shapes.

When Blake lets melodies stand in the spotlight they are accompanied by layers to peel back. A plaintive piano and vocal run Love Me In Whatever Way, but lingering beneath them are swishes and rustles that hint at something going on that we can’t quite make out. Similarly, there's sporadic use of siren-like sounds to disrupt the pacing, reminding us that we’re on Blake’s time.

Along the way, he draws attention to some of the best songs of his career. There is an ease to f.o.r.e.v.e.r’s delivery that makes Blake’s vocal stand apart, while My Willing Heart has a rolling gait, quite unlike anything else here, before slowly being enveloped by a synth mist. I Hope My Life - 1-800 Mix, meanwhile, makes fine use of its sharp edges to propel a melody that might have come from a dark corner of John Carpenter’s mind.

There is so much to investigate here, in fact, that it’s actually easy to overlook just how much of a slog ‘The Colour in Anything’ can be. Long records are, by nature, bound by the laws of attention spans and shifting moods, and Blake has crafted one that might soundtrack an afternoon of grey-hued introspection so perfectly as to render it unwieldy in other situations. It doesn’t lend itself to being chopped and changed, either, making it admirably, and frustratingly, old-fashioned. It’s exactly as it was intended and, seemingly, happy for you to take it or leave it.

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