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Track List
01) Klavierwerke
02) Tell Her Safe
03) I Only Know (What I Know Now)
04) Don't You Think I Do
01) Klavierwerke
02) Tell Her Safe
03) I Only Know (What I Know Now)
04) Don't You Think I Do
5:06
3:14
5:16
3:05
Data Complete
70%
Total Rating
70%Total Rating
(0 users)
Back Cover
CD Art
3D Case
3D Thumb
3D Flat
3D Face
3D Spine
First Released
2010
Electronic
Relaxed
Electronic
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EP
0 copies
Album Description
Available in:
Klavierwerke is the third solo EP by London-based dubstep producer James Blake. It was released in both the United Kingdom and the United States on R&S Records on 27 September 2010. The word "klavierwerke" is German for "piano works", as the album is mostly built on piano. James Blake changed his style on the EP from gospel and R&B influenced dubstep on CMYK to more piano-based music. In the EP, Blake samples and manipulates his vocals and piano to add an effect. According to Blake, the EP is "more personal" than CMYK, and its lyrics are more focused on emotion. The EP has been described as "sadder and more intimate" than his previous releases. The songs are also somewhat similar to Mount Kimbie's songs. The title track features some vocal static due to it being recorded on a laptop microphone. The static contrasts with the clear hand claps and bass notes. The next track, "Tell Her Safe" has Blake singing over percussion. It also features light pops and clicks and a muffled refrain.
The song "I Only Know (What I Know Now)" features "twisted" vocals and is influenced by Radiohead. It has sounds that "ache with longing and soul" and has been described as "sad". In the song, Blake sings over piano and bass, with occasional blank spaces. He changes his vocals over the course of the song, sometimes speeding or slowing it down. "Don't You Think I Do", the final track, has "scattershot keys" and "cascading static". It also contains some synthesizer. The song ends when it dies down to a chord.
User Album Review
Translated from the German, this four-tracker from rising British producer James Blake is titled Piano Works. It’s both an entirely suitable and somewhat misleading name for an EP-length offering that delights with immediate effect but also offers the kind of intricacies and textural depth that so few operating in contemporary electro circles can. Suitable because, yes, piano is a core constituent, chiming its way through the scattershot keys and cascading static of Don’t You Think I Do and the twisted vocals and dubbed-out Radiohead vibes of (I Only Know) What I Know Now. And misleading because it implies simplicity where the complexities of this release make a mockery of their usual allegiances with ill-advised indulgence and cluttered aural ephemera.
Every click beneath another click, every swoosh or sweep from computer keys through programmes and into production, is a fascinating facet of a whole that never once seems unduly overpopulated by elements that others might pronounce with greater emphasis. Blake’s compositions are close in spirit to those of Mount Kimbie, where appreciation begins cerebrally rather than physically; but he’s not shy of encouraging the timid out from the shadows and into the lights, either. The title-track is brilliantly indicative, in just five minutes, of the artist’s ability to build a shape-shifting floor-filler from scratch, exercising restraint where certain peers might go straight for the obvious 2-step-indebted intonations of commercial dubstep. Klavierwerke, the track, gradually unfolds from inconspicuous beginnings into a number evocative of Pariah’s sensitive shufflers. Tell Her Safe, meanwhile, proffers propulsive but treble-twitching percussion atop ghosts-in-the-machine vocals – again, it’s something that fans of Radiohead’s more out-there flirtations with dance dynamics will fall for instantly.
If Blake’s CMYK release of the spring was his warning shot across a packed club that he could mix it up with the very best of the world’s wonky bassheads, a rollicking but firmly focused party-starter that was half calling card, half greatest hit in waiting, then this set is the essential comedown. It offers cool and calm where its predecessor promoted sweat and swagger, the contrast between then and now as apparent as Darkstar’s synth-pop slow-down from Aidy’s Girl is a Computer to current single Gold. And it points the way towards a debut album, due early 2011, that’s set to be excellently received.
External Album Reviews
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User Comments
Available in:
Klavierwerke is the third solo EP by London-based dubstep producer James Blake. It was released in both the United Kingdom and the United States on R&S Records on 27 September 2010. The word "klavierwerke" is German for "piano works", as the album is mostly built on piano. James Blake changed his style on the EP from gospel and R&B influenced dubstep on CMYK to more piano-based music. In the EP, Blake samples and manipulates his vocals and piano to add an effect. According to Blake, the EP is "more personal" than CMYK, and its lyrics are more focused on emotion. The EP has been described as "sadder and more intimate" than his previous releases. The songs are also somewhat similar to Mount Kimbie's songs. The title track features some vocal static due to it being recorded on a laptop microphone. The static contrasts with the clear hand claps and bass notes. The next track, "Tell Her Safe" has Blake singing over percussion. It also features light pops and clicks and a muffled refrain.
The song "I Only Know (What I Know Now)" features "twisted" vocals and is influenced by Radiohead. It has sounds that "ache with longing and soul" and has been described as "sad". In the song, Blake sings over piano and bass, with occasional blank spaces. He changes his vocals over the course of the song, sometimes speeding or slowing it down. "Don't You Think I Do", the final track, has "scattershot keys" and "cascading static". It also contains some synthesizer. The song ends when it dies down to a chord.
User Album Review
Translated from the German, this four-tracker from rising British producer James Blake is titled Piano Works. It’s both an entirely suitable and somewhat misleading name for an EP-length offering that delights with immediate effect but also offers the kind of intricacies and textural depth that so few operating in contemporary electro circles can. Suitable because, yes, piano is a core constituent, chiming its way through the scattershot keys and cascading static of Don’t You Think I Do and the twisted vocals and dubbed-out Radiohead vibes of (I Only Know) What I Know Now. And misleading because it implies simplicity where the complexities of this release make a mockery of their usual allegiances with ill-advised indulgence and cluttered aural ephemera.
Every click beneath another click, every swoosh or sweep from computer keys through programmes and into production, is a fascinating facet of a whole that never once seems unduly overpopulated by elements that others might pronounce with greater emphasis. Blake’s compositions are close in spirit to those of Mount Kimbie, where appreciation begins cerebrally rather than physically; but he’s not shy of encouraging the timid out from the shadows and into the lights, either. The title-track is brilliantly indicative, in just five minutes, of the artist’s ability to build a shape-shifting floor-filler from scratch, exercising restraint where certain peers might go straight for the obvious 2-step-indebted intonations of commercial dubstep. Klavierwerke, the track, gradually unfolds from inconspicuous beginnings into a number evocative of Pariah’s sensitive shufflers. Tell Her Safe, meanwhile, proffers propulsive but treble-twitching percussion atop ghosts-in-the-machine vocals – again, it’s something that fans of Radiohead’s more out-there flirtations with dance dynamics will fall for instantly.
If Blake’s CMYK release of the spring was his warning shot across a packed club that he could mix it up with the very best of the world’s wonky bassheads, a rollicking but firmly focused party-starter that was half calling card, half greatest hit in waiting, then this set is the essential comedown. It offers cool and calm where its predecessor promoted sweat and swagger, the contrast between then and now as apparent as Darkstar’s synth-pop slow-down from Aidy’s Girl is a Computer to current single Gold. And it points the way towards a debut album, due early 2011, that’s set to be excellently received.
External Album Reviews
None...
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