1. unconventional song structures
  2. multiple layers of vocals and overt electronic manipulation
  3. sparse, minimal materials yet result is rich
  4. lyrically economical – often a single line is repeated for an entire song. non-narrative lyrics
  5. use of electronics yet still highly emotive – coldly modern yet traditionally emotive at the same time
  6. extreme bass

01 ‘Unluck’ – James Blake – James Blake

  1. overlapping lyric – almost a round
  2. poly rhythmic hi hat

02 ‘The Wilhelm Scream’ – James Blake – James Blake

  1. overall structure with noise crescendo
  2. single melody/lyric line repeated

03 ‘I Never Learnt To Share’ – James Blake – James Blake

  1. crescendo plateaus into loop
  2. single line repeated but with gaps and last paraphrase repeats

04 ‘Lindisfarne I’ – James Blake – James Blake

  1. solo vocals – reminiscent of imogen heap’s ‘hide and seek’
  2. ringing phasing effect

05 ‘Lindisfarne II’ – James Blake – James Blake

  1. distorted acoustic guitar – sound like mic distortion?
  2. off beat woody tuned percussion

06 ‘Limit To Your Love’ – James Blake – James Blake

  1. deep, oscillating bass
  2. long pause with delays fading out

07 ‘Give Me My Month’ – James Blake – James Blake

  1. live performance recorded in a sonically interesting place (ie. background sound)
  2. falsetto vocals

08 ‘To Care (Like You)’ – James Blake – James Blake

  1. popping edit loop, changing chord, as backbone of song
  2. double meaning homophones

09 ‘Why Don’t You Call Me’ – James Blake – James Blake

  1. begin with ‘live performed’ section, then build track from edited loops of same material
  2. use edit pops as beat

10 ‘I Mind’ – James Blake – James Blake

  1. vox loop layers as harmony and melody
  2. white noise as cymbal (swell, reverse ‘open hi hat’) – ducked by kik
11 ‘Measurements’ – James Blake – James Blake

  1. harmonies with slight differences – reminiscent of queen’s ‘somebody to love’
  2. hiss/overdub artefact as deliberate texture