James Blake - Overgrown
Critic Score
Based on 41 reviews
2013 Ratings: #47 / 1080
Year End Rank: #22
User Score
2013 Ratings: #42
Liked by 25 people
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Though the stormy textures and somber reflections are pretty specific to a particular mood, Overgrown finds and fits that mood perfectly. While it might take listeners a few spins to find the right head space for the album, once they get there, it's an easy place to get lost in.

The Line of Best Fit

With a work of such stark emotional beauty, Blake has picked up the torch once again with Overgrown.  In the end, you judge a musical journey by your own emotional response, and mine was blown wide open.

The Guardian

The abiding mood of James Blake's second album may be one of melancholy, but in every track there is a glinting nib of beauty wound into the melody or set at odds to it, something to cling on to.


The record focuses much more on soul-laden balladry than anything else, showing off Blake's improved songwriting skills while casting a spotlight on his angelic tenor.

A.V. Club

James Blake’s talent is in his ability to smoothly synthesize disparate influences; his willingness to grow and develop while doing so is fascinating and frequently rapturous.

The 405

It's just as exciting as we've come to expect from him, and as forward-thinking as ever. 


Overgrown is a triumph. It is evidence of James Blake forging his own singular musical path, free from hype and expectation, and blossoming into both a producer of real compositional skill and a songwriter of great depth.

No Ripcord

The bottom line is, Overgrown is an unforgettable album by a limitlessly talented songwriter who, at 24 years old, may just be beginning to approach his prime.

Resident Advisor

With only drums, bass and a sprinkle of reverb propping up his voice, Blake puts himself out there as he hasn't previously. The result is bone-chillingly gorgeous, right down to the feverish burst of pop strings that accompanies the final choruses. 


Overgrown holds together beautifully, managing to cohere without wilting into monotony. Given how eclectic the album is, it’s a hell of a trick.


‘Overgrown’ remains closer knit, and paradoxically less fragmented than its illustrious predecessor, ideas rotating core values guided by an affirmatively unseen hand. Which ultimately makes this an even better record.

Loud and Quiet

It’s tempting to say that this is a headphones album, but that would be reductive; regardless of context, Blake’s intricate, layered achievement is remarkable.

Beats Per Minute

While James Blake felt aloof, even ahuman, Overgrown is packed with feeling, and releases it with the smallest of gestures. While its title suggests excess, this is a nuanced move towards accessibility.

Pretty Much Amazing

Overgrown is not the enigma that was his debut, but rather it is a first-rate album from a musician that isn’t all that interested in being enigmatic.  

Drowned in Sound

Far more than with his first album Overgrown is focused upon his songwriting rather than his technology, and it’s much stronger for it.

FACT Magazine

For all the newfound confidence and scope of these songs, they are still best viewed as dub versions of themselves: inversions of pop forms trading in negative space and decay, implication rather than exposition.

Tiny Mix Tapes

Overgrown is a remarkable effort from an artist who continues to do things his own way, regardless of the consequences.


It’s not an easy listen, but it may just be one of the most nuanced, soothing and adventurous of 2013. 


Overgrown is not as wall-to-wall great as his debut, but fans of the first LP will still find much to admire. The most promising development is his indulged fondness for various permutations of R&B and gospel styles

Consequence of Sound

James Blake may lose some fans with the tamer, more sultry sounds of Overgrown. But he’s going to gain a lot more. Without the cut-and-paste dubstep, his music suddenly becomes quite radio friendly

The Fly

He’s absorbed new influences into the unique framework he creates around his songs, pulling in aspects of house, gospel and R&B to create something alluringly strange yet pleasingly palpable.

Slant Magazine

Blessed with a strange, ethereal voice, he could easily excel at music that matches its dulcet tones, but the pungent mixtures of high and low he concocts end up being far more thrilling.


Blake takes a left turn with “Overgrown” and embraces a love for beautiful chords and moody atmospherics. It’s a more consistent album than his debut -- for better and for worse.

The Telegraph

Overgrown is underdeveloped, in the best possible sense, employing the sonic palette of state-of-the-art, digital dance music to pursue something almost completely contrary to the clubbing experience.

NOW Magazine

On Overgrown, the chord progressions are more complex and the lyrics less abstracted, but it's still the James Blake we love.

The Independent

At its best, Overgrown proves that James Blake doesn't need to listen to anyone's advice. He's doing fine already.

Under The Radar

While Blake hasn't attempted anything startlingly new on Overgrown, he's certainly still the master of his own musical vocabulary—effortlessly compounding dark and nebulous electronic production with a soul, gospel, and R&B aesthetic.


Overgrown's biggest fault is lack of quality control; it's an uneven listen, with peaks like "Retrograde" segueing into the quotidian piano recital of "DLM," with an undistinguished back half that doesn't linger in the mind afterward.


Whatever Overgrown’s disappointments, it still bears the mark of a young songwriter of obscene talent. 


Blake purportedly focused on his songwriting, inspired by a new relationship and the distance of non-stop touring, and the result is the lush Overgrown.

Rolling Stone

He sings in a pretty, dusky warble, but often doesn't enunciate his lyrics; he's less a songwriter than a conjurer of melodies. But at its finest, Blake's mood music has some magic in it. It holds you in its spell.

The Needle Drop

On James Blake's latest album, the various sides to his musical personality blend together into a pretty uniform set of tracks that combine detailed electronica, chorus-based songwriting, piano, and Blake's sharp voice.


At it best moments, Overgrown proves that the two sides of James Blake—the dancefloor oddball and the crossover songwriter—can exist side by side, but it also demonstrates that, at least right now, the balance between the two is totally off.


He hasn’t grown enough as a lyricist to carry his piano-based compositions, and as a producer, he’s shown a more stylish hand with diva turns and silence than his own voice


Always subtle, usually elegant and generally very easy to appreciate, but never implanting itself onto your mind with red-hot intent.

The Observer

The London producer with the voice like a bruise remains perennially inconsolable here.

Genre: QuahQuahQQuay: episode twelve: "Forest of Velvet"


Upon approaching the courtyard a large amount of chatter is overheard. No spesific words are able to be made out though.

"What will you have tonight friend" a voice behind the agent says. Turning around reveals a man in the white mask and a tuxedo, behind a bar that's illuminated by a blue light under him. Behind him is a big gold wall with many different bottles of alcohol on it. As well as ... read more
It is a step forward in terms of songwriting and aesthetics, but for me nothing beats the emotional rawness of his debut album. Still a fantastic project though.
I understand my reasons for a perfect score are my own personal reasons....but my god...sometimes music says what you're feeling more than you can.
I really love what Blake shoots for on Overgrown. It's super nostalgic and emotional without being very heavy. However, after hearing his first and now the second album I've always thought he was a great writer that doesn't show it off enough. He repeats hooks instead of sprinkling in some potentially poetic verses. While sometimes that may be annoying to hear the same string of words 20+ times in a song, it works. He's able to fit everything together so well to the point of RZA sounding right ... read more
Tepid vocals, fairly non-descript instrumentals and then out of place “future garage” elements which feel really weak versions of what the best of the genre has to offer.

I’ll take Retrograde though.
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Added on: February 7, 2013