"Playing Robots Into Heaven" - James Blake Album Review

James Blake is one of the most unlikely superstars of the 21st century given his unconventional songwriting style and his unforgiving experimental ability.

This year alone, he secured a couple of features each for Metro Boomin’s “Spider-Man: Into the Spider-Verse” soundtrack and what was arguably the biggest album of the year, Travis Scott’s Utopia. Blake is no stranger to these high-profile collaborations, delivering genre-bending moments that make each track he’s a part of stand out.

The London native can pretty much do it all. Many might know him best for his powerful voice, which often soars across multiple octaves with soul influence. He croons at the emotional apex of 2018’s “STOP TRYING TO BE GOD,” and even gives fellow artist Stevie Wonder a run for his money. He also managed to stop the show on “King’s Dead” beating out Kendrick Lamar, Jay Rock, and Future for the best moment on the song.

He’s also a killer producer. Blake helped with keyboard contributions, arrangement and production on “Solo” and “Godspeed,” two of Frank Ocean’s greatest ballads. He’s also credited as a writer on several other songs and had a successful run as a DJ. So what can’t he do?

The short answer is nothing, but on his sixth studio album, Blake deliberately chooses to limit himself.

On “Playing Robots Into Heaven,” you get only a fraction of James Blake. That’s it.

In a way, “...Heaven” is a return to form striking several similarities to his debut. The album is stripped back, has zero features, limited live instrumentals and is extremely production-heavy. This is in stark contrast to Blake’s 2021 release, “Friends That Break Your Heart,” which featured a greater instrumental variation, a plethora of ballads and true standout moments that, you know, broke your heart.

The lyrics are some of the most repetitive yet, and most songs are structured into short phrases and refrains. Big choruses are rare. Blake’s elegant voice is masked or warped a majority of the time. Either it is drastically pitched up or is soaked in autotune and reverb. Moments where his raw vocals shine are like a breath of fresh air.

The opening few tracks build a sense of excitement that is relatively unmatched throughout the rest of the album. “Loading” is a highlight, flowing incredibly from start to finish. Each song builds a moody atmosphere but also features great dancehall beats that seem like they would fit a pair of headphones better than The Mirage.

Tracks 4-6 feel like they’re missing essential elements that make them feel complete. Sure, the sampling techniques and modular programming are impressive, but it also sounds like something that has been done better on a Jamie xx or Thom Yorke solo project.

“I Want You To Know” takes the cake for the best song on the album, and is a contender for one of the best songs of the year. Interpolating Snoop Dogg and Pharell’s “Beautiful,” Blake creates something beautiful. His vocal manipulation is other-worldly, reaching tones that could have been inconceivable beforehand. The swelling atmospherics from the layered vocals and synthesizers somehow stay grounded with a lively swingful drum beat.

The production is easily the best thing about the album. While some of his early projects sound dated, “...Heaven” features a diverse soundscape that blends complex rhythms and ambiance that gradually get more intense as each song progresses.

“If You Can Hear Me” is Blake’s one attempt at a ballad on the record, and it falls flat. At two and a half minutes, there is not enough time for it to develop and feature the epic progression that is on nearly every other song.

The title and closing track is a four-minute instrumental piece that features ethereal synthesizers and more euphoric soundscapes. It would have made for a perfect conclusion if the back half featured more chaos and energy. By the time that it ends, the album has already been exhausted.

Sonically, “Playing Robots Into Heaven” is lightyears ahead of any other major release, and is Blake’s best-sounding album to date. However, a lack of vocal substance or themes drags it down significantly. Blake at the forefront could have single-handedly transformed songs from good to great as he has done so many times before.

However, taking the backseat isn’t always so bad. The production alone makes a handful of the tracks worth a listen to. Knowing him, another high-profile feature is due soon, see you then.

Rating: 6/10

Reviewers' Favorite Tracks: “Asking To Break,” “Loading,” “I Want You To Know”

Reviewers' Least Favorite Track: “Big Hammer”

Caelan Chevrier is a fourth-year majoring in marketing. To contact him, email cjc6789@psu.edu.