James Blake - Assume Form (Album Review)
Four albums in to his career, James finally sounds incontrovertibly clear both instrumentally and lyrically, appearing happier and more content with life than ever before, especially after the dismally depressing "The Colour In Anything". That last album was itself an impressive release but is very different to "Assume Form".
On this release James doesn't create his typical dark mood, in fact he creates the much very differently altogether. His emotive vocals are the focal point of every song, except where features steal the show, and the beats are minimalistic trap-inspired accompaniments to the piano leads and synth swells, the latted buried deep in the mix and let to sizzle but never truly become captivating or atmospheric enough to compare with his earlier works. For me, this is where my problems start with this album...
Throughout "Assume Form", Blake's personality is the same as ever but his mental state is much more positive and happier, a shift that is reflected particularly well on the title track with its beautiful instrumentation, boasting a fantastic buildup to an impressive climax that sets the tone for an expansive, diverse, alternative R&B album that just never happens. Immediately after the title track, "Assume Form" takes a left turn into hip hop territory with "Mile High", a song that features Travis Scott and Metro Boomin for a downbeat, sparse trap club anthem, a description that probably makes no sense if you've not heard it. As far as the album goes, this is a standout but far from the best that Blake has to offer. "Mile High" is an enjoyable song, but not one that makes a lot of sense in the context of the album, the other trap and hip hop influenced tracks and beats surpassing this one in quality and emotional relevance with the topics of the album.
Blake's lasting relationship with Jameela Jamil fuels some brilliant ballads and lyrical content that is highlighted on the song "Barefoot In The Park", a genuinely happy track that features the wonderful Spanish singer Rosalía, whose debut album I reviewed very positively last year and who adds a great deal to the song, using her voice in a very different way to normal to better match the restrained fizz of the beat and providing some fantastic backing and lead vocals, but that is in itself exceeded by the even more upbeat and slightly psychedelic "Can't Believe The Way We Flow", one of my personal highlights from the album in which James's production really expands and intensifies into this ultrasmooth but glitchy, profoundly engaging upbeat and almost danceable feel that reminds me his experimental single "If The Car Beside You Moves Ahead", a perplexing nighttime poppy track that was never quite catchy enough to really stick with me except with "Can't Believe The Way We Flow" there is a clear and memorable chorus that definitely makes it more accessible and easier to enjoy, also achieving the instrumental depth that a lot of the album lacks.
Arguably the most hyped song on the album would be "Where's The Catch?", a true masterpiece that features the legendary André 3000 of OutKast fame. This might just be the best song here because of how it accomplishes being both an emotionally commanding James Blake song that explores his typical themes of doubt and uncertainty with an actually groovy and fun hip hop beat and some really impressive flows and verses from André too. I'm certain that this is the ultimate song on the album because of how it demonstrates the emotive power that is the couplet of James and hip hop music, something that "Mile High" can only dream of achieving.
Not every song is particularly memorable and although James is never boring or uninteresting in his delivery there are times when he sounds slightly generic and replaceable, especially on the very clearly Khalid emulating "Power On", an altogether excruciating listen when compared with the heights of the previous few tracks. The weaknesses of this song are matched and possibly transcended by lead single "Don't Miss It", which is just a really awkward song in terms of the vocal delivery compared with the uber-forgettable and uber-generic beat, this song is a real low for Blake as he clearly struggles to juggle the emotional weight with such out of place production which amounts in an odd experience where as a listener I feel exhausted by trying to get into the vibe of the song, a song I just don't want to hear ever again.
Overall I don't find this album exciting or nearly unique enough to call it outstanding, but it's also not dull or generic enough to call tedious, at least not the majority of the time. The honest and clear delivery is certainly effective and much-welcomed but the supporting beats are inconsistent in quality and less complex or detailed in construction, layering and effect than usual. These songs are divided between the good and the mediocre and as far as James Blake albums go it's not his strongest, definitely not worth a perfect score (*cough* NME *cough*). In conclusion, "Assume Form" is worth a listen but by no means album of the year material, despite housing a couple of songs that might just be that standard on their own.
As far as ratings go, this is receiving a 6 out of 10 from me, there's too much skippable material here for anything higher but I'd still check it out.
Best Songs:
Assume Form, Barefoot In The Park, Can't Believe The Way We Flow, Where's The Catch?
Worst Song/s:
Power On, Don't Miss It
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