At the same time dubstep started to get massive, James Blake cranked down the volume. His circa-2010 singles for the Hessle Audio and R&S labels — "The Bells Sketch," "CMYK," "Klavierwerke" — revealed a musician more interested in percussive nuance than crushing bass, and called up sounds of desolate, subtly driving beauty better than most of his 2-step peers since the first Burial releases. The following year's self-titled debut album took things even further — now he was a vocalist, as much a singer-songwriter as a super producer, with delicate melodies and neo-soul falsettos (and a cover of Feist's "Limit to Your Love") pushing him even further from bass music's increasingly raucous turf into the arms of indie-pop. As hinted at by the EPs he... More >>>