James Blake serves up counter-intuitive simplicity and minimal dubstep in soulful debut album
It seems strange to call something "post-dubstep" when the original genre's overwhelmingly wobbled subbass, complex syncopated downtempo percussion and characteristically suspenseful bass drops have only been around for about a decade. Nevertheless, it's the best way to describe, in a single word, what Londoner James Blake has produced in his eponymous debut album, which was released on Monday.The 11 songs are, in fact, quite against the grain of the genre's harsh maximal stereotype: Avid dubstep purists, those who crave the filthy intensity of dubstep-proper exclusively, are already quick to discount the release, despite its similarly lurching rhythms with occasionally wonky time signatures. This distinction is crucial to understand: Blake's album certainly is not music for dancing with friends at the club but for listening at home in introspective solitude.