James Blake - Assume Form

James Blake - Assume Form

The acclaimed debut. The struggling sophomore attempt. The back to basics third. The masterpiece fourth.

These are common tropes to consider when thinking about the realm of the album. There have been deviations, both good and bad, but the latter description fits the mould for the English producer perfectly. James Blake returns with an endeavour that sees the aural architect at his best.

Know for his R’n’B and rhythm and bass tracks, Assume Form is a departure from the norm in the best possible way. Deep and emotive in comparison to the suspended claustrophobia of his previous releases, this new direction has coincided with the locating of his ‘person.’ A more settled life, it would seem, suits Blake. Some elements have been translated through though: the nonchalant flow and geometric patterns remain but the new Blake is markedly more tender in parts and wildly tense in others. Like a love bird that sleeps with one eye open, waiting for the talons of a falcon that may never come… but it might. Assume Form is the soundtrack to a man learning how to be truly in love for the first time as he recovers from the sting of the past (“I didn’t plan to stay long” - Tell Them). The track list covers the highs and lows of relationships and emotions: from Mile High and  Barefoot In The Park to Are You In Love? and Where’s The Catch (“Where’s the catch, there must be, there must be” is as honest a line as you’re going to get in the 2010’s), while the varying levels of confidence only make it more relatable.

Toothsome and weighted already, AF is bolstered by a number of high profile features. From Travis Scott to André 3000, to Metro Boomin and flamenco/electro-pop singer ROSALÍA, Blake pulls out all stops in creating his chamber of intimacy. “In my arms wrapped in, don’t know where you start and where I begin” he ponders on Mile High, amidst a blanket of subdued elements and electronic beats that literally feel like an embrace, warm and fulfilling. Within the remarkably confined space of AF and its hushed/strained laughter, Blake manages to convey a sincere sense of passion, love and affection. This is mostly achieved by the humanising aspects of AF, which vary from tongue in cheek self-depreciation (“In the snake pit so long, I’ve got posters up”) to palpable admissions of weakness and mortal need  (“I could’ve used you in the early days”). It's heartwarming to see the temporal side of the Englishman, who seems to be laughing at himself - like he is waiting for the cruel joke to land on him where none of this is real. It’s in this hidden panic (“are you in love, do your best impression for me”), this admission of fault and weakness on Blakes part where Assume Form comes into its own. Blake is extremely self-aware, which prevents the album from descending into indulgent lovey dovey sap.

For proof of this, one can look no further than stand out track Into The Red. Most notably on this number, but also throughout the album, the comparison of affection to physical objects is a prevalent theme. Blakes attempt to rationalise the intangible, to give form to the formless (see album title), is the most interesting take on the LP. Take this line for example - 

“She doesn’t love, anything for herself, but for me, she goes way in, way in, way into the red”

Going into the red is an economic term, but it could apply to both cash and emotion, a metaphor for how much a person can both physically and spiritually invest in someone else. It's an arresting image and one that conjures questions Blake does not have the answer to. And for the first time in his career, he seems content to remain in the unknown.The excellence continues throughout. The sonic spooning session of Can't Believe The Way We Flow is a winner. Full of confessional themes, aching honesty and mercury drip beats, it's one of the two best songs on AF, while the safe harbour harmonies and smooth sailing melody of Power On is a welcome break in the action.

And yet, to point out a definite low is almost too difficult. Blake is at his apex with Assume Form, which at its emotional core is love songs about being in love. There's a simplicity to that that Blake was often too afraid to entertain. No more. James Blake has assumed his final form.