James Blake is an artist with nothing left to prove. He has conquered the world of electronic-influenced pop and mastered the art of songwriting, all while carving his own lane with innovative production. His production style has bled into genres like Hip-hop with Blake racking up credits on projects from Travis Scott and Flatbush Zombies. Along the way, Blake has picked up critical acclaim across the board and even took home a Grammy, none of this affecting his creative output. So the question remains, what does James Blake have left to achieve in the world of music? His latest album answers that question.
Playing Robots Into Heaven, Blake’s latest creation is a return to form, as Blake toys around with his earlier sound by adding colossal improvements to the electro-pop formula he coined all those years ago. Blake traverses off-kilter dance tempos for his most daring album to date.
While his soft ballads are what made Blake’s music so refreshing, Playing Robots Into Heaven dives into the complete opposite direction. Instead, his vocals take a back seat on this ride as the artist opts for an instrumental-driven LP with blazing tempos. Blake takes notes from classic house music and adds a dash of intimacy, making even the bounciest instrumental feel personal. While there are hints of Blake’s ambitions from his previous projects, the risks taken on his last few releases pale in comparison to the arrangements on Playing Robots Into Heaven. With all eyes on him, Blake dives deeper into himself to unearth a new side of his artistry, one lined with danceable melodies and infectious grooves that cut through the air with undeniable charisma.
Rather than leaning on his poetry to express his current state of mind, Blake reaches into his bag of production tricks on his latest outing. The album kicks off with two tracks that are more conventionally-sounding James Blake tunes but don’t get too comfortable in this sonic realm. The artist switches things up on track three, “Tell Me”. A chaotic EDM-style instrumental cuts through Blake’s manipulated voice to create a welcomed sonic conflict. This juxtaposing track feels like a turning point, not only for Playing Robots Into Heaven but for his artistry as a whole. The following tracks find a balance between sentimental ambiance and head-bobbing tempos. “Fall Back” is an early favorite with a house-inspired structure that will have you moving your coffee table for a makeshift dance floor. The single “Big Hammer” marks yet another sonic change with the preceding tracks forcing things to slow down.
For the second half of his sixth studio album, Blake leans on ambiance to guide us through the rest of the album. Songs like “I Want You To Know” and the epically sparse title track leave the dancing behind and instead use blissful melodies and electronic white noise to form their structure. This creates a larger sonic conflict within Playing Robots Into Heaven although it does not take away from the consistency that makes this album such an enjoyable listen. By exploring every corner of his producing stylings Blake emerges with some stellar arrangements that play like a hectic night on the town with a relaxing ending.
Playing Robots Into Heaven answers every question we had going into the project and leaves us with several more. James Blake crafted an ambitious sixth outing that proves his creativity is far from finished evolving while still harkening back to his earlier work in subtle ways. While this may not become your favorite James Blake album instantly, it is one that toes the delicate line of pleasing the world while staying true to yourself. Playing Robots Into Heaven is a snapshot of Blake’s ambitions while still sounding present and urgent.
