After all, all the meaning of songs is created in the minds of the listeners. In an interview in 2010, Matt Berninger of The National stated how music should be vague, allowing it to be open to the interpretation of the listener. Blake expresses a deep, and perhaps futile wish to mean something that is not just a temporary occurrence, to not just be “a star, a stone on the shore”, to not just create something with meaning in a particular moment, but instead to create something that has a lasting emotional impact. One such example of James Blake’s soulful mastering of meaningful, heartrending lyrics with post-dubstep is the album’s title track, which questions the culture of impermanence of meaning. This ability has not deserted Blake, and remains to be a strong influence on his latest release: Overgrown. He managed to marry the rhythmic post-dubstep sounds he had managed to create on his earlier EPs with a soulful, Joni Mitchell-influenced singer-songwriting capability, demonstrated by his fantastic reworking of Feist’s ‘Limit To Your Love’. His 2011 self-titled album, however, displayed a different side to Blake. As a post-dubstep producer, Blake has an innate ability to create swirling tornadoes of sound to surround rhythmic beats, as was displayed perfectly by 2010’s ‘CMYK’ and ‘Klavierwerke’ EPs.
The current British music scene is saturated with tedious singer-songwriters that clog up the radio waves with simplistic, unimaginative three-chord guitar songs relying on worn-out clichés that cater for the lowest common denominator.
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