James Blake - The Colour In Anything album download
Tracklist Hide Credits
|3||Love Me In Whatever Way||5:03|
|6||Put That Away And Talk To Me||3:57|
|7||I Hope My Life (1-800 Mix)||5:40|
|8||Waves Know Shores||2:55|
|9||My Willing Heart||4:02|
|11||I Need A Forest Fire
Featuring – Bon Iver
|12||Noise Above Our Heads||5:03|
|13||The Colour In Anything||3:33|
|14||Two Men Down||6:01|
|17||Meet You In The Maze||4:55|
- Phonographic Copyright (p) – Polydor Records
- Copyright (c) – Polydor Records
Barcode and Other Identifiers
- Barcode (Text): 6 02547 96454 0
- Barcode (Scanned): 602547964540
|4793298||James Blake||The Colour In Anything (CD, Album)||Polydor||4793298||Europe||2016|
|00602547932983||James Blake||The Colour In Anything (CD, Album)||Polydor||00602547932983||US||2016|
|4793298||James Blake||The Colour In Anything (CD, Album)||Polydor||4793298||Australasia||2016|
|00602547932983||James Blake||The Colour In Anything (CD, Album)||Polydor||00602547932983||Thailand||2016|
|none||James Blake||The Colour In Anything (17xFile, WAV, Album, 24-)||Polydor||none||Europe||2016|
The Colour in Anything is the third studio album by English singer-songwriter and producer James Blake. It was released on 6 May 2016, by Polydor Records. It serves as the follow-up to his Mercury Prize-winning 2013 album Overgrown. It features contributions from Justin Vernon and Frank Ocean, and additional production work by Rick Rubin. In November 2014, Blake announced that his third album was "seventy percent done" and would be released in "about five months
The Colour In Anything is James Blake’s third studio LP, and the follow up to his 2013 LP, Overgrown. The album was originally believed to be titled Radio Silence. Blake announced the title along with the cover using a series of murals in London and Brooklyn in the week of the album’s release. Back in 2015, he said that Kanye West would also be featured on the album, but it looks like that collaboration never came to fruition. It’s bigger in scope and a byproduct of a lot of change and growing up, really, a lot of self improvement and reflection. My relationship was a catalyst for those kinds of changes; the person I’ve been with for the past year or so really brilliantly held up a mirror to me. I mean, I grew up an only child, and then at 21 I became quite famous-you’re in a petri dish, and people are just peering in on your progress. I feel now as if I can identify with more empathy and relate to people.
James Blake’s third album of nocturnal 21st century soul is, simply put, exquisite. The Colour in Anything is also deeply romantic, full of weightless melodic magic, and despite its indulgent length, feels freewheeling and creatively ecstatic. Perhaps this can be attributed to its guerilla release and co-conspirators. Opening his studio doors to Frank Ocean, Justin Vernon and Rick Rubin has liberated Blake; Timeless and I Hope My Life (1-800 mix) judder down sinister paths, Choose Me is exultant, and the Vernon hook-up I Need a Forest Fire glacially beautiful
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Blake revealed the news on Annie Mac's BBC Radio 1 show this afternoon, confirming rumors of the LP title and imminent release following the appearance last week in London and New York of billboards featuring artwork by Roald Dahl illustrator Sir Quentin Blake. Blake has also announced two new shows: May 16 at the Belasco Theatre in . and May 18 at Webster Hall in NYC. Update 5/5 3:31 .
Listen to the new album below: The Colour In Anything.
Blake may have laid the groundwork for that, but The Colour in Anything reaffirms that he stands apart from his new peers. His music is not nice; the production frequently evokes a disturbed mind, and over it he speaks of profound alienation. Modern Soul, the album’s first single, is dominated by one of Blake’s typically sublime vocal melodies, but beneath that is hollow percussion, faint sirens and the endless refrain of I want it to be over. A sense of negation – the temptation to retreat from a bleak outside world – forms the disquieting background noise to his songs
Complete your James Blake collection. Not a bed pressing, production comes through and sounds crisp and not too much noise throughout. Most evident on "Put That Away and Talk to Me" in terms of crispness and cleanliness of sound.