Post Description

Met dank aan de originele posters indien het niet door mij geript is...
Thanks to the original posters if not ripped by myself...

01 - James Blake - Trying Times - Walk Out Music.flac 
02 - James Blake - Trying Times - Death of Love.flac 
03 - James Blake - Trying Times - I Had a Dream She Took My Hand.flac 
04 - James Blake - Trying Times - Trying Times.flac 
05 - James Blake - Trying Times - Make Something Up.flac 
06 - James Blake - Trying Times - Didn’t Come to Argue.flac 
07 - James Blake - Trying Times - Days Go By.flac 
08 - James Blake - Trying Times - Doesn't Just Happen.flac 
09 - James Blake - Trying Times - Obsession +.flac 
10 - James Blake - Trying Times - Rest of Your Life.flac 
11 - James Blake - Trying Times - Through the High Wire.flac 
12 - James Blake - Trying Times - Feel It Again.flac 
13 - James Blake - Trying Times - Just a Little Higher.flac 
991 - auCDtect.log 
991 - Lossless Audio Checker.log 
992 - AccurateRipNotCorrectGaplessRip.log 
999 - cover.jpg 
999 - Discogs Downloaded Cover 01.jpg 
999 - Discogs Downloaded Cover 02.jpg 
999 - Discogs Downloaded Cover 03.jpg 
999 - Discogs Downloaded Cover 04.jpg 
999 - Discogs Downloaded Cover 05.jpg 
999 - Discogs Downloaded Cover 06.jpg 
999 - Discogs Downloaded Cover 07.jpg 
999 - Discogs Downloaded Cover 08.jpg 
999 - Discogs Downloaded Cover 09.jpg 
999 - Discogs Downloaded Cover 10.jpg 
999 - Discogs Downloaded Cover 11.jpg 
999 - Discogs Downloaded Cover 12.jpg 
999 - Discogs Downloaded Cover 13.jpg 
999 - Discogs Downloaded Cover 14.jpg 
999 - Discogs Downloaded Cover 15.jpg 
999 - Discogs Downloaded Cover 16.jpg 
999 - Discogs Downloaded Cover 17.jpg 
999 - Discogs Downloaded Cover 18.jpg 
999 - Discogs Downloaded Cover 19.jpg 
999 - Discogs Downloaded Cover 20.jpg 
999 - Discogs Downloaded Cover 21.jpg 
999 - Discogs Downloaded Cover 22.jpg 
999 - Discogs Downloaded Cover 23.jpg 
999 - Discogs Downloaded Cover 24.jpg 
999 - Discogs Downloaded Cover 25.jpg 
999 - Discogs Downloaded Cover 26.jpg 
999 - Discogs Downloaded Cover 27.jpg 
999 - Discogs Downloaded Cover 28.jpg 
999 - Discogs Downloaded Cover 29.jpg 
999 - Discogs Downloaded Cover 30.jpg 
999 - Discogs Downloaded Cover 31.jpg 
999 - Discogs Downloaded Cover 32.jpg 
999 - Discogs Downloaded Cover 33.jpg 
999 - Discogs Downloaded Cover 34.jpg 
999 - Discogs Downloaded Cover 35.jpg 
James Blake - Days Go By.txt 
James Blake - Death of Love.lrc 
James Blake - Didn’t Come to Argue.txt 
James Blake - Doesn't Just Happen.txt 
James Blake - Feel It Again.txt 
James Blake - I Had a Dream She Took My Hand.lrc 
James Blake - Just a Little Higher.txt 
James Blake - Make Something Up.lrc 
James Blake - Obsession.txt 
James Blake - Rest of Your Life.txt 
James Blake - Through the High Wire.lrc 
James Blake - Trying Times.lrc 
James Blake - Walk Out Music.lrc 


Oor Review ---------------------
album POP James Blake Trying Times GOOD BOY/VIRGIN Randy Timmers 13 maart 2026
Weinig muzikanten maken de ontwikkeling door die James Blake heeft doorgemaakt sinds hij in 2011 een van de grote hypes in het poplandschap was.
Zijn oorspronkelijke sound, een opgeknipte blend van elektronica en gospel in experimentele tracks vol stilte en ruimte, was uniek en inspireert tot de dag van vandaag honderdduizenden na-apers.
Maar het was lang niet alles wat Blake in huis had.

De Engelsman is een all-round muzikant zoals die nog steeds zeldzaam zijn, want ondanks dat iedere popartiest vandaag de dag ieder genre lijkt te beheersen,
is er nog steeds maar een enkeling die zichzelf met iedere plaat daadwerkelijk opnieuw uitvindt.
Na het briljante Playing Robots Into Heaven, waarop de zanger en producer zijn oorspronkelijk geluid zowel doorontwikkelde als opblies,
heeft hij met Trying Times een magistrale liedjesplaat gemaakt, die – ondanks de moderne productie – de ouderwetse kwaliteit en warmte in zich heeft van andere grote liedjesplaten in de muziekgeschiedenis.

Trying Times gaat over het ervaren van liefde in moeilijke tijden en voelt qua thematiek en sfeer als een plaat voor nu.
Blake deed eigenlijk al nooit anders, maar toont zich hier de definitieve heer en meester in het combineren van oud en nieuw.
Trying Times staat vol magistrale songs, waarin gospel en soul samensmelten met glinsterende pop en elektronische impulsen.

Het meest sprekende voorbeeld hiervan is Didn’t Come To Argue, waarin Blake’s croonen eerst wordt gestuwd door koorzang en zijn falsetto-uithalen vervolgens worden
gedragen door een strijkersensemble dat ineens verdwijnt in een beat vol opgeknipte en vervormde zangsamples. Maar het kan ook simpeler.
I Had A Dream She Took My Hand begint als old school geproduceerde soulballad, maar verandert door middel van synthesizers en typisch James Blake-gebruik van echo’s,
afstanden en andere ruimtelijke effecten in iets spookachtigs en unieks.

Maar het belangrijkste element van Trying Times is helemaal niet de eigenzinnigheid van Blake, maar simpelweg de grote schoonheid van de songs.
Niet eerder zong de Engelsman met zoveel klankkleur en gevoel.
Met slechts een enkele uithaal in het titelnummer roert hij je tot tranen.

Discogs Information ------------
James Blake – Trying Times (2026)
Filed Under: pop, R&B by exy — Leave a comment
March 12, 2026

James Blake sometimes feels like pop music’s arch, ultra-serious older brother, floating above the scene with warbly torch songs that never quite come down to earth.
He’s left his ghostly prints on artists ranging from Beyoncé to Rosalía to Lil Yachty, and it’s a testament to his influence how widespread his once novel,
weightless style of production has become.
There was a time when it wasn’t common for mainstream artists to sing over instrumentals that sound like they would crumble against a gentle caress, or pitch vocals up and down to inhuman extremes.
All of that experimentation, coupled with his heart-on-sleeve, midtempo songwriting, has lent Blake a somewhat dowdy image, like a Tory councillor who liked dubstep before he finished business school.
His work has moved back and forth between the dance music he started out making and the confessional singer-songwriter music that made him famous.
His latest LP, Trying Times, stakes its claim right in the middle, with a newfound suavity and melodic sense borrowed from traditional R&B.

Blake often comes off somber, but those who pay attention know he’s just as often moony and lovestruck, or just straight-up weird.
Trying Times shows off all sides of his personality, and he sounds free, unencumbered by expectations of what he’s supposed to do next.
Maybe it’s because, after years of talking about the economics of releasing music, Trying Times is his first self-released album after leaving a major label.
The album starts off sufficiently strange with the careening, hectic “Walk Out Music,” like “CMYK” all grown up.
But instead of a Kelis sample, “Walk Out Music” features the semi-alarming hook, “You’re not good to anyone dead,” as the instrumental swirls and swells.
This bit of defiance and affirmation underlines the album’s main themes: facing off existential dread and committing to being in love even when it’s hard.

Tracks like the slightly pompous, Leonard Cohen-sampling “Death of Love” paint a picture of a relationship slouching towards stagnation.
The male choir and lyrics like, “I think we might be walking to the death of love” are pretty dour, and maybe a little much.
But you also have lovely moments like “Make Something Up,” where Blake tries to pin down a series of specific feelings into words that escape him,
before asking: “Why don’t we make something up?” It’s the kind of idly philosophical chat you have with someone you know better than anyone,
an intimate moment that seems kind of dumb but also kind of profound.

These songs are built around classic R&B and doo-wop elements, including samples of Hollywood oddities the Lewis Sisters.
These stylistic choices highlight Blake’s songwriting instincts, which on other records could be drowned out by the overbearing production or long, meandering runtimes.
Here, even when things take left turns, the songs feel tighter and more focused.
On the title track, Blake writes one of his most potent love songs, elevating a cliché with simple, stunning vocal runs: “I’m an eyesore/You’re a sight for sore eyes.”
The chorus of “Through the High Wire” ascends toward the heavens with Blake’s falsetto mangled by a strange gate effect that renders it inhuman for split seconds at a time.
But behind all the effects, it’s a lovely, inspirational pop tune.

As Trying Times reaches its halfway point, it goes a little off road.
A truly bizarre flip of Dizzee Rascal’s “I Luv U” turns that bitter kiss-off into the musical equivalent of the heart eyes emoji, and rapper Dave channels
Blake’s insecurity on the sleuthing, menacing “Doesn’t Just Happen” (a reminder that Blake is a damn good hip-hop producer, too).
These detours feel slightly random up against some of the most unadventurous tracks in his catalog, like the smoky ballad “Didn’t Come to Argue.” Like most of his albums,
Trying Times could use a little editing, but that’s part-and-parcel of the James Blake package these days.
The occasional boring track is offset by an experiment that dives off the deep end into titanic bass and rip-roaring drums,
a reminder that his origins will always be with him no matter how buttoned-up he gets.

The best track on Trying Times channels the nervy brilliance of 2023’s Playing Robots Into Heaven, which dug into his dance music past without resorting to nostalgia.
And, appropriately for Trying Times, “Rest of Your Life” is another married-as-hell ditty about being together forever,
hijacked by a buzzing house beat as a piano line runs amok up and down the scales.
The whole thing comes apart for a second as Blake’s voice struggles to make sense of the chaos.
It’s that fluttery sensation of realizing how lucky you are, head in the clouds for a moment because you’re so in love with what’s been in front of you the whole time.
It’s a ridiculous song, but it’s also heartfelt, dealing with feelings as directly (and psychedelically) as Blake always has.
And this is the crux of Blake’s appeal: It’s not just the booming bass or the mangled vocals, but how he bends the very nature of sound itself to express the most universal of human emotions.
— Pitchfork