2016's The Colour in Anything found James Blake in an alarmingly dismal state of mind; the album centered around miscommunication, heartbreak, and despair. These somber themes, accompanied by Blake's intricate and melancholic instrumentation, resulted in a wonderfully poignant and captivating record. Admittedly, however, Assume Form's drastic and romantically charged shift in tone is a breath of fresh air.
The album's title track, "Assume Form," serves as a felicitous introduction to the record. Amidst the glimmering piano chords and arpeggios, Blake expresses that he's finally found someone to help bring him out of what he calls "the ether" (likely a reference to the depressive state of mind we were introduced to in The Colour in Anything). About halfway through the song, Blake even samples a line from "Depression"—a poem written and performed by slam poet Rage Almighty: "[Depression] feels like a thousand pounds of weight holding your body down in a pool of water, barely reaching your chin." Blake knows this feeling all too well—but fortunately, a newfound love has caused this weight to be lifted. He confidently asserts, "I will assume form, I'll be out of my head this time / I will be touchable by her, I will be reachable." The woman Blake's referring to is his girlfriend, actress Jameela Jamil. In fact, Blake affirmed via Twitter that we have her to thank for the entirety of this dazzlingly romantic record:
To @jameelajamil I love you and you are the reason this album exists, but now everyone else has it, so I’ll see you at home in 30 mins and we can talk shit about everyone.— James Blake (@jamesblake) January 19, 2019
Blake's collaborators certainly contribute to the appeal of this album. Travis Scott and Metro Boomin join Blake on one of the record's first singles, "Mile High," which is naturally more deeply rooted in trap. Metro takes a minimalist approach in the production of this song—accentuating a simple, reverberating flute sample over a pulsating synth and trap drums. Meanwhile, Travis Scott brings the song to life with his unrivaled melodic sensibility. The track feels delightfully spacey and atmospheric. "Tell Them" (also produced by Metro) presents a drastic change in pace. It's still trap; but this time around, we hear a flamenco influence. This unique style is well-matched by Guest Artist Moses Sumney's sublime vocal performance. The juxtaposition of these two songs really draws attention to Metro's impressive versatility as a producer.
Rosalia's soaring vocals on "Barefoot in the Park" are certainly gratifying, but Blake himself doesn't add much to the track. Perhaps my expectations for this collaboration were set too high, but I found this to be one of the more underwhelming cuts on the album. That's not to say it isn't a good song; it just doesn't reach its full potential. In contrast, Blake's collaboration with Andre 3000 exceeded my expectations. "Where's the Catch" is easily one of the record's strongest moments. Blake utilizes this track to explore how one's peace of mind can become disrupted by anxiety. Even when things are going great for Blake, he worries that it's all too good to be true. Thematically, Andre's verse follows suit—presenting similar ideas in a way that only he can. His peculiar wordplay, impeccable flow, and impassioned lyricism coalesce into something that's earnest, profound, and relatable. In his recent interview with iTunes, Blake himself comments on Andre's lyrical prowess: "The line ‘Like I know I’m eight, and I know I ain’t’—anxiety bringing you back to being a child, but knowing that you’re supposed to feel strong and stable because you’re an adult now. That’s just so beautifully put."
Nevertheless, the album's most exquisite moments unfold when Blake is in the spotlight. "Into the Red" is a stunning and arresting tribute to Jameela Jamil. At the outset, it's gentle and modest—but with the help of strings and layered vocal harmonies, it gradually swells into something truly resplendent. "Can't Believe the Way We Flow" is skillfully built around a warm, hooky vocal sample; it's one of the album's catchiest and most buoyant songs. Unfortunately, it slightly suffers from unnecessary length and occasional disjointedness. The subsequent track, "Are You In Love," is just as beautiful, but even more succinct. Between its quirky synths and transcendent coda, it might be one of the prettiest songs Blake has ever released.
"I'll Come Too" is a charming ballad that powerfully showcases Blake's stylistic sensibilities. It feels like a millennial reimagination of traditional pop—combining etherial strings and graceful doo-wop over a tenuous trap beat. On the other hand, "Don't Miss It" is a glitchy and stirring reflection on the disastrous effects of depression and anxiety. In his iTunes interview, Blake describes this track as "the inner monologue of an egomaniac." Throughout the song, he dissuades his listeners from becoming so consumed by their struggles that they forget to live in the present moment. He knows from personal experience, however, that this is easier said than done. He fervently pleads, "Don't miss it / Don't miss it like I did." Moving on from here, the album concludes with the fittingly dreamlike "Lullaby For My Insomniac." Despite being laconic, this song is remarkably poetic; yet it's Blake's wordless and spiritual crooning that render this track otherworldly.
I'm glad I waited a few days to review this album. Initially, it seemed fairly lethargic and disappointing; but as I spent more time with it, I began to recognize and appreciate the subtleties that make it so special. James Blake is an extremely talented and forward-thinking artist, and this is his most fully realized project to date. Assume Form hasn't been completely cleansed of imperfection—but its low points are infrequent and often overshadowed by its breathtaking highs.
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