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Overgrown
Studio album by
James Blake
Released5 April 2013 (2013-04-05)
Recorded2010–2012
Genre
Length39:22
Label
ProducerJames Blake
James Blake chronology
Love What Happened Here
(2011) 		Overgrown
(2013) 		200 Press (EP)
(2014)
Singles from Overgrown
  1. "Retrograde"
    Released: 11 February 2013[2]
  2. "Overgrown"
    Released: 10 April 2013

Overgrown is the second studio album by English electronic musician James Blake. It was released on 5 April 2013 by Blake's Atlas Records, along with Republic Records and Polydor Records.[3] The album features guest appearances from electronic music producer Brian Eno and Wu-Tang Clan member RZA.[4] Overgrown debuted at number eight on the UK Albums Chart and at number one on the US Dance/Electronic chart. It was supported by lead single "Retrograde".

The album was awarded the 2013 Mercury Prize, beating favourites Laura Mvula, Disclosure and David Bowie to win. It also earned Blake a nomination for the Grammy Award for Best New Artist at the 56th Annual Grammy Awards.

Background

[edit]

Following both the critical and commercial success of Blake's self-titled debut album, Blake released both the Enough Thunder and Love What Happened Here EPs. These EPs, noticeably more structured than his previous releases, featured more R&B tinged work as opposed to the dubstep-influenced electronic sound of CMYK. Many reviewers speculated in the year between releases that Blake was headed in the wrong direction, with Pitchfork's Larry Fitzmaurice saying that "James Blake's reliance on piano-based singer/songwriter electro-soul perhaps played it a bit too safe, prompting comparisons to the once-outré, now-gear spinning career of fellow avant-crooner Jamie Lidell".[5]

Blake admitted to Hot Press in an interview about Overgrown that his relationship affected the album. He said, "I can't deny it. There's no point in trying to come up with some other explanation for what I've been writing about....When it happened, I was really struck. Y'know—suddenly I'm hit!".[6]

Earlier in 2012, Blake spent time with American rapper Kanye West and singer Justin Vernon. In 2012, after months of speculation, Blake announced a new collaborative non-single release under the moniker Harmonimix. This release featured British rapper Trim and the single "Confidence Boost/Saying" was released on 24 September 2012. It was a return to form for Blake and featured the distinct characteristics present in his previous efforts (though "Confidence Boost" had been floating around on the internet for three or four years).[7]

Promotion and release

[edit]

During the final weeks of 2012, Blake performed three intimate shows where he debuted five new tracks, "Our Love Comes Back", "Overgrown", "Retrograde", "To the Last" and "Every Day I Ran."[8][9]

Blake announced via Facebook on 7 February 2013 that his second album, Overgrown, would be released on 8 April.[10] The first single from the album, "Retrograde", was debuted the same day on BBC Radio 1, and was released on 11 February. On 7 March, Blake and his labelmates at 1-800 Dinosaur shared both the dub version of "Voyeur" and the album cut of "Digital Lion" featuring Brian Eno.[11] The title track was released as a single on 10 April alongside a music video directed by Nabil Elderkin.[12] A remix of the track "Life Round Here" featuring Chance the Rapper was released on 11 October alongside a music video directed by Nabil Elderkin.[13][14]

Critical reception

[edit]
Professional ratings
Aggregate scores
SourceRating
AnyDecentMusic?7.9/10[15]
Metacritic82/100[16]
Review scores
SourceRating
AllMusicStarStarStarStarStar[17]
The A.V. ClubA−[18]
The Daily TelegraphStarStarStarStar[19]
The GuardianStarStarStarStarStar[20]
The IndependentStarStarStarStar[21]
NME8/10[22]
Paste6.4/10[23]
Pitchfork8.0/10[24]
QStarStarStar[25]
Rolling StoneStarStarStarHalf star[26]

Overgrown received widespread critical acclaim upon its release. At Metacritic, which assigns a rating out of 100 to reviews from mainstream critics, the album received an average score of 82, based on 40 reviews, which indicates "universal acclaim".[16] Martyn Young of musicOMH stated that "Overgrown is more diverse and dynamic than before. Blake seems to have found an ideal middle ground between restrained and measured balladry and disorientating electronic soul".[27] This sentiment was echoed by The Guardian's Paul MacInnes, who wrote that "Blake's palette is unique, his abilities as a composer are great and quite obviously growing."[20] In a review for AllMusic, Fred Thomas described the album as existing "somewhere between the vacant echoes of dub and trip-hop, dubstep's sample-slicing production, and the contained heartbreak of a singer/songwriter playing piano to himself in an empty room," and noted that "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."[17] Clash said the album is "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."[28]

On 30 October 2013, the album won the Mercury Music Prize for album of the year. The lead single, "Retrograde", also won an Ivor Novello Award for Best Contemporary Song.

Overgrown ranked among the top albums for the year, making it on to many end-of-year lists.

Year-end rankings

[edit]
Publication List Rank Ref
Clash Clash's Top Albums of 2013 2 [29]
Complex The Best Albums of 2013 3 [30]
Consequence of Sound The Top 50 Albums of 2013 37 [31]
The Guardian The Best Albums of 2013 5 [32]
The Michigan Daily Best of 2013: Top 10 Albums 6 [33]
Mojo Top 50 Albums of 2013 25 [34]
NME NME's 50 Best Albums of 2013 50 [35]
NPR NPR Music's 50 Favorite Albums of 2013 N/A [36]
Pitchfork Top 50 Best Albums of 2013 26 [37]
Pitchfork 2013 Readers' Poll 14 [38]
Pretty Much Amazing 40 Best Albums of 2013 32☨ [39]
Q 50 Best Albums of 2013 46 [40]
Richard Kingsmill Top 10 Albums of 2013 1 [41]
Tiny Mix Tapes Favorite 50 Albums of 2013 25 [42]

"N/A" indicates that the publication did not rank the works included in their year-end list.

"☨" denotes that the Top 10 were unranked and published alphabetically.

Decade-end rankings

[edit]
Publication List Rank Ref
AllMusic The AllMusic Decade in Review (2010s) N/A [43]
The A.V. Club The AV Club's 50 Favorite Albums of the 2010s 22 [44]

The Decade in Review list incorporates an unranked enumeration of 200 albums spanning the 2010s decade.

Track listing

[edit]

All tracks are written by James Blake, except "Digital Lion", written by Blake, Brian Eno and Rob McAndrews.

No.TitleLength
1."Overgrown"5:00
2."I Am Sold"4:04
3."Life Round Here"3:37
4."Take a Fall for Me" (featuring RZA)3:33
5."Retrograde"3:43
6."DLM"2:25
7."Digital Lion"4:45
8."Voyeur"4:17
9."To the Last"4:19
10."Our Love Comes Back"3:39
Total length:39:22
iTunes bonus tracks[45]
No.TitleLength
11."Every Day I Ran"3:24
12."Retrograde" (music video)4:03
Total length:48:09
Japanese edition bonus track[46]
No.TitleLength
11."The Wilhelm Scream" (Live at Pitchfork)6:01
Total length:45:23

Personnel

[edit]
  • James Blake – writing, engineering, production, mixing, instrumentation, vocals
  • Brian Eno – writing (track 7)
  • Rob McAndrews – writing, guitar (track 7)
  • Ben Assiter – additional percussion (track 1)
  • RZA – vocals (track 4)
  • Matt Colton – mastering

Charts

[edit]

Certifications and sales

[edit]
Region Certification Certified units/sales
Denmark (IFPI Danmark)[76] Gold 10,000‡
United Kingdom (BPI)[77] Silver 60,000*
United States — 54,000[78]

* Sales figures based on certification alone.
‡ Sales+streaming figures based on certification alone.

Release history

[edit]
Region Date Label
Australia[79] 5 April 2013 Universal
Germany[80]
Ireland[81]
United Kingdom[82] 8 April 2013
France[83] Universal
Sweden[84]
Italy[85] 9 April 2013
Poland[86]
United States[87] Republic
Japan[46] 10 April 2013 Universal

See also

[edit]

References

[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Overgrown

View on Grokipedia
from Grokipedia
Overgrown is the second studio album by English electronic musician and singer-songwriter James Blake, released on 5 April 2013 through his own Atlas Records label in partnership with A&M and . The album features guest contributions from member on the track "Take a Fall for Me" and producer on "Digital Lion," blending Blake's signature dubstep-influenced electronic production with soulful R&B vocals and ambient textures. Produced primarily by Blake himself in collaboration with co-producer Ben Assiter, Overgrown marks a from his self-titled debut, incorporating more organic like live percussion and guitar while retaining glitchy electronic elements and introspective lyrics exploring themes of love, isolation, and vulnerability. The record comprises ten tracks, including the "Retrograde," a brooding highlight that propelled the album's commercial success, peaking at number eight on the . Upon release, Overgrown garnered widespread critical acclaim for its emotional depth and innovative sound, with reviewers praising Blake's maturation as a composer and vocalist. It won the prestigious in 2013, recognizing it as the best British or Irish album of the year and beating nominees such as David Bowie's and ' AM. The album's influence extended to subsequent electronic and alternative music, solidifying Blake's reputation as a boundary-pushing , and it has been reissued in deluxe editions featuring additional remixes and live recordings.

Development

Conception and background

Following the critical acclaim and nomination for his self-titled debut album in 2011, which marked Blake's shift from roots to more intimate , he released the EPs Enough Thunder in 2011 and Love What Happened Here in December 2011. These releases further developed his signature style, blending soulful vocals with experimental production, though the debut had faced for lacking cohesive direction. The conception of Overgrown was deeply shaped by Blake's personal life, particularly his two-year long-distance relationship with Warpaint guitarist , which began around the time of the album's creation. The uncertainty inherent in their romance—stemming from geographical separation and the demands of touring—infused his songwriting with emotional depth and vulnerability, as Blake noted that this dynamic "helped him creatively" by providing raw material for exploring love's complexities. Songs like "Retrograde" directly reflected this influence, capturing the tension between devotion and doubt. In 2012, Blake's artistic evolution was further informed by key collaborations that broadened his sonic palette. Early that year, he spent time working alongside , who had publicly named Blake his favorite artist, and of , building on their prior connection from the Enough Thunder EP and enriching his approach to vocal layering and emotional delivery. Later in 2012, after months of speculation, Blake announced and released a collaborative project under the pseudonym Harmonimix with British rapper Trim, yielding the single "Confidence Boost/Playing with Fire" in October, which experimented with hip-hop elements and reinforced his interest in genre-blending. Blake first teased material from Overgrown during a series of intimate live performances in late 2012, debuting tracks such as "Overgrown," "Retrograde," "DLM," "Our Love Comes Back," and "To the Last" at shows in and , allowing him to refine the songs in front of audiences. On February 7, 2013, he formally announced the album via his official page, revealing a release date of April 8, 2013, and directing fans to pre-order it on while promising a first listen to "Retrograde" on that evening. These previews and the announcement built anticipation for the project, which also incorporated brief contributions from and .

Recording and production

The recording of Overgrown primarily took place in James Blake's home studio in , where he handled the bulk of the engineering, production, and mixing himself. As a , Blake performed vocals, keyboards, programming, and guitar across the album, blending live elements like and bass with electronic production techniques. This approach incorporated subtle influences drawn from his earlier work, creating a textured sound that merged organic instrumentation with digital processing. Blake served as the primary producer throughout, with notable collaborations enhancing specific tracks: co-wrote and co-produced "Digital Lion," providing ambient and experimental input that aligned with Blake's evolving style. contributed vocals to "Take a Fall for Me," adding a hip-hop edge through his distinctive delivery and lyrical interplay. The album was mastered by at Mastering in , ensuring clarity and depth in its final sonic presentation. This hands-on process reflected Blake's control over the project, allowing for an intimate yet expansive production that built on his self-titled debut.

Music and lyrics

Musical style

Overgrown represents a fusion of electronic soul, , R&B, and , distinguishing itself through more organic and live-feeling arrangements compared to the dubstep-heavy electronic focus of James Blake's self-titled debut album. This shift emphasizes layered rhythms that incorporate soulful and dubstep elements, creating a sound that feels both intimate and expansive. The album's production highlights minimalism, with sparse instrumentation allowing for atmospheric builds that draw listeners into subtle electronic textures and echoing spaces. Blake's prominent use of falsetto vocals adds an ethereal quality to the tracks, often layered over and chords to evoke a haunting, soulful intimacy. A key example is "Retrograde," which opens with a -driven intro and before transitioning into a massive electronic drop, blending minimal balladry with intensity. This track exemplifies the album's restraint, prioritizing emotional resonance through vocal-forward arrangements rather than dense beats. The incorporation of hip-hop elements is evident in "Take a Fall for Me," featuring Wu-Tang Clan member RZA's contemplative rap over Blake's ethereal production, marking a brief foray into hip-hop-inflected slow jams. Subtle gospel influences appear in tracks like "Digital Lion," where bass-heavy grooves meet choir-like vocal harmonies co-written with . Spanning 10 tracks with a total runtime of 39 minutes and 30 seconds, Overgrown maintains a sense of space and restraint, fostering an immersive listening experience through its deliberate pacing and sonic economy.

Themes and songwriting

The album Overgrown draws heavily from James Blake's personal experiences following a , infusing its with themes of , isolation, , and the tentative steps toward personal growth. Written in the aftermath of the relationship's end, the record captures the emotional residue of loss and the uncertainty of moving forward, as Blake reflected in a 2016 interview where he described the album as emerging from a period of "emotionally heaviest" . This personal lends the songs an raw authenticity, exploring relational dynamics strained by distance and doubt, such as the challenges of maintaining connection across physical and emotional divides. Blake's songwriting on Overgrown emphasizes and abstract lyrics, often presented in a fragmented, stream-of-consciousness style that mirrors the disjointed nature of post-breakup reflection. Tracks like "Retrograde" exemplify this approach, delving into emotional regression amid a confused love affair—"Is this darkness of the dawn?"—where the narrator grapples with regression into old patterns despite the pull of new affection. The across the are economical yet evocative, conveying cosmic and yearning for reciprocity, as in lines that evoke a profound sense of isolation amid relational flux. This is heightened by Blake's delivery, occasionally referencing his to underscore emotional exposure. The songwriting process for Overgrown was largely a solo endeavor, with Blake composing the majority of the material himself to channel his inner turmoil into abstract expressions of struggles and emerging adulthood's turbulence. He approached by capturing fleeting emotional states, tweaking phrases to probe unformed feelings like speculation in love's ambiguities, reflecting the broader challenges of young adulthood such as navigating heartbreak and self-doubt. One exception is "Digital Lion," co-written with , which incorporates Eno's ambient influences into Blake's framework, marking a rare collaborative pivot amid the album's predominantly solitary creation. Overall, this method prioritizes emotional depth over linear narrative, allowing themes of growth to emerge through subtle, recurring motifs of resilience amid isolation.

Release and promotion

Singles and music videos

The lead single from Overgrown, "Retrograde", was released digitally on February 11, . The track served as an introduction to the album's evolving sound, blending Blake's signature electronic production with introspective vocals. Its accompanying , directed by Martin de Thurah, presents a surreal of pursuit, featuring a lone figure fleeing through desolate landscapes from a blazing meteor-like entity, evoking themes of isolation and inevitability. The title track "Overgrown" followed as the second single, released on April 8, 2013. The video for the single, directed by , depicts an abstract performance sequence set in lush, overgrown natural environments, with Blake navigating misty forests and coastal edges in a dreamlike, ethereal atmosphere that mirrors the song's meditative tone. A remix of "Life Round Here" featuring was issued as the third single on September 17, 2013. This version incorporates Chance's improvisational rap verse over Blake's original ambient production, expanding the track's exploratory vibe. The music video, also directed by , unfolds in stark black-and-white , capturing intimate, atmospheric scenes of the artists in urban and natural settings to emphasize themes of escape and reflection.

Marketing and live performances

Overgrown was released on April 5, 2013, in , April 8, 2013, in the and , and April 9, 2013, in the United States. The album was marketed through Blake's own Atlas Records label in collaboration with in the US and in the and . Promotional efforts included digital pre-orders announced alongside the album's reveal in February 2013, allowing fans early access to tracks like the lead single "Retrograde." Limited edition formats, such as a double LP pressed on 180-gram heavyweight vinyl, were offered to collectors, emphasizing the album's physical release appeal. In the lead-up to the release, Blake built anticipation through intimate live shows in late 2012, debuting several tracks from Overgrown during performances in New York and . Social media teasers, including album artwork and tracklist reveals shared via platforms like , further engaged fans ahead of the official announcement. To support the album, Blake embarked on a world tour in 2013, spanning North America, Europe, and festival appearances. Key live performances included sets at Coachella on April 14, where he showcased material from the new record, and Glastonbury in June, featuring full renditions of the Overgrown tracklist alongside earlier hits. These shows highlighted Blake's evolution as a performer, blending electronic production with live instrumentation for immersive experiences.

Reception

Critical reviews

Upon its release in 2013, Overgrown was met with widespread critical acclaim, with reviewers highlighting its artistic growth and maturity compared to James Blake's self-titled debut . The received a score of 82 out of 100, based on 40 reviews, indicating universal acclaim. Critics praised its emotional depth and production innovation, often describing it as a more confident and accessible work that blended electronic experimentation with soulful introspection. awarded it 8.0 out of 10, commending how it is "packed with feeling" and releases emotion through subtle gestures, while incorporating more and R&B elements for a broader range of textures than the debut. gave it a score of 5 out of 5 stars, calling it a "beautiful, at times tragic album" that builds on Blake's reputation through a versatile mix of creativity, including electro-pop and hip-hop influences that convey yearning and cosmic loneliness with harmonic richness. NME rated it 8 out of 10 but noted occasional repetitiveness in its minimalist style, suggesting the intimate, wintry chill could feel somewhat uniform across tracks despite its pungent high-low mixtures and absorption of new influences.

Accolades and rankings

Overgrown won the 2013 on October 30, 2013, awarded to James Blake for the best album from the or , beating nominees including Laura Marling's , David Bowie's , and Arctic Monkeys' AM. The album earned Blake a nomination for Best New Artist at the in 2014, where nominees included , , , and ; the category was ultimately won by . In year-end critics' polls for 2013, Overgrown ranked #2 on Clash magazine's list of top albums, #5 on The Guardian's list of the 40 best albums, and #26 on Pitchfork's top 50 albums. For decade-end lists, it placed #22 on The A.V. Club's 50 best albums of the 2010s.

Commercial performance

Chart positions

Overgrown debuted at number 8 on the UK Albums Chart on April 20, 2013. It simultaneously reached number 1 on the US Billboard Dance/Electronic Albums chart. The album attained additional peak positions across international charts, including number 5 in , number 12 in (), number 62 in , and number 32 on the .
Chart (2013)Peak position
Australian Albums ()5
Belgian Albums ( )12
French Albums ()62
32
On the year-end US Dance/Electronic Albums chart for 2013, Overgrown ranked number 23.

Sales and certifications

In the , Overgrown was certified Silver by the (BPI) on 11 July 2014, denoting shipments of 60,000 units. In , the album received a Gold certification from on 16 February 2021, equivalent to 10,000 units. The album saw no certifications in the United States, where it achieved modest sales; by October 2013, it had sold 43,000 copies according to Nielsen SoundScan figures. Overall U.S. sales remained under 100,000 units through 2013, reflecting limited mainstream breakthrough despite its critical reception. Globally, Overgrown experienced modest commercial performance relative to its acclaim, with sales receiving a notable boost from its win in October 2013; UK sales surged by over 2,500% in the immediate aftermath.

Content and credits

Track listing

All tracks are written and produced by James Blake, unless otherwise noted.
No.TitleLength
1."Overgrown"5:25
2."I Am Sold"4:45
3."Life Round Here"3:37
4."Take a Fall for Me" (featuring )3:33
5."Retrograde"3:57
6."DLM"2:29
7."Digital Lion" (featuring )
(writers: James Blake, , Rob McAndrew)		2:21
8."Our Love Comes Back"3:28
9."Forever Your Heart"4:06
10."Mgmt"3:41
The deluxe edition includes the bonus track "Every Day I Ran". Certain regional editions, such as the Japanese release, feature a live version of "" as an additional bonus track.

Personnel

James Blake served as the , , , and across all tracks on Overgrown, performing on , guitar, bass, and programming while handling the bulk of the recording and mixing at his home studio. Ben Assiter provided additional percussion on "Overgrown" and served as co-producer on select tracks. provided additional production, keyboards, and programming specifically on "Digital Lion", where he also co-wrote the track alongside Blake and Rob McAndrew. , a founding member of , contributed guest vocals to "Take a Fall for Me". Rob McAndrew offered additional engineering support and performed guitar on "Digital Lion". Matt mastered the album at Mastering in .

Legacy

Cultural impact and influence

Overgrown played a pivotal role in the development of electronic soul and during the 2010s, blending introspective electronic production with soulful vocals to inspire genre-blending artists such as , Drake, and , who drew from Blake's atmospheric soundscapes in their own work. The album's fusion of elements with R&B and influences helped pioneer a more emotive, minimalist strain of electronic music, influencing subsequent acts in the alternative R&B sphere by emphasizing vulnerability and sparse arrangements over traditional beats. The record contributed to the evolution of dubstep from its aggressive, bass-heavy origins into more introspective and song-oriented forms, impacting the broader UK electronic scene by showcasing how electronic producers could prioritize emotional depth and vocal experimentation. This shift encouraged a wave of UK artists to explore subdued, atmospheric , moving away from club-focused tracks toward album-oriented compositions that integrated and indie elements. Overgrown resonated culturally by articulating themes of isolation and emotional turmoil relevant to millennial and emerging adult experiences, with tracks like "Retrograde" capturing a sense of quiet yearning that mirrored generational anxieties about connection in a digital age. The song "Retrograde" gained further cultural traction through its use in television series such as The Leftovers, The Chi, 9-1-1, and The Blacklist, as well as the trailer for Apple TV+'s Surface Season 2, amplifying its portrayal of personal introspection in popular media. Winning the 2013 for Overgrown solidified Blake's status as a leading figure in , propelling his career toward high-profile collaborations, including production contributions to Beyoncé's Lemonade on the track "Forward" and Kendrick Lamar's DAMN. on "ELEMENT.". These opportunities underscored the album's lasting influence, bridging electronic innovation with mainstream pop and hip-hop.

Reappraisals

In the years following its initial release, Overgrown has received renewed acclaim for its innovative fusion of genres and lasting emotional resonance. A 2023 retrospective review in Glide Magazine celebrated the album on its 10-year anniversary, describing it as a "borderless genre-bender" that exemplifies Blake's intuitive approach to electronic music through sparse electro-soul fusions and warped tones. The piece emphasizes the work's enduring emotional pull, with Blake's vulnerable songwriting deconstructing complex feelings like into honest, hanging phrases that evoke a full of human experience. James Blake himself addressed the album's underappreciated influence in a 2021 interview, noting how Overgrown's harmonic melancholy prefigured shifts in modern pop and R&B production. He observed that elements of his —moving away from repetitive four-chord structures toward darker, ambient textures—appeared in major works like Beyoncé's Lemonade, Kendrick Lamar's DAMN., and Frank Ocean's Blonde, though he struggled with the lack of equivalent commercial success for his own efforts. This reflection underscores Overgrown's role in subtly reshaping production norms, a point Blake has come to accept as and maturity allowed him to value his contributions beyond immediate recognition. Indie music communities have sustained this reappraisal, frequently positioning Overgrown as a pinnacle in Blake's for its atmospheric consistency and packed songcraft, often contrasting it favorably against his more experimental later albums. Discussions in forums like r/indieheads, including a 2018 "For Your Consideration" thread and ongoing threads, highlight it as an essential capture of the era's sonic evolution. A 2020 analysis in Fare Forward connected the album's themes of isolation and yearning to the experiences of emerging adults navigating uncertainty in the , framing its introspective lyrics and as prescient for a decade marked by global disruptions and personal .

References

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  49. https://www.metacritic.com/music/overgrown/james-blake
  50. https://www.grammy.com/news/exploring-the-best-new-artist-nominees
  51. https://www.latimes.com/entertainment/music/la-et-ms-grammy-nominations-winners-list-story.html
  52. https://www.clashmusic.com/features/clashs-top-albums-of-2013-10-1/
  53. https://www.theguardian.com/music/musicblog/2013/dec/16/best-albums-2013-james-blake-number-5
  54. https://pitchfork.com/features/lists-and-guides/9293-the-top-50-albums-of-2013/
  55. https://www.avclub.com/the-50-best-albums-of-the-2010s-1839776060
  56. https://www.officialcharts.com/albums/james-blake-overgrown/
  57. https://www.billboard.com/pro/james-blake-number-1-top-dance-electronic-albums-chart/
  58. https://acharts.co/album/77292
  59. https://bestsellingalbums.org/album/20578
  60. https://www.billboard.com/music/music-news/james-blakes-overgrown-wins-2013-mercury-prize-5770738/
  61. https://www.nme.com/news/music/james-blake-37-1235119
  62. https://musicbrainz.org/release/d9202e60-4a1e-40ab-8581-53be1404b79a
  63. https://www.discogs.com/release/23785949-James-Blake-Overgrown
  64. https://www.discogs.com/release/4448490-James-Blake-Overgrown
  65. https://genius.com/James-blake-digital-lion-lyrics
  66. https://www.discogs.com/release/22916483-James-Blake-Overgrown
  67. https://www.thisismetropolis.com/engineers/matt-colton/
  68. https://www.theguardian.com/music/2016/may/05/james-blake-beyonce-kanye-west-colour-in-anything
  69. https://nialler9.com/album-of-the-week-james-blake-overgrown/
  70. https://www.sputnikmusic.com/review/56221/James-Blake-Overgrown/
  71. https://www.thecurrent.org/feature/2013/05/03/james-blake
  72. https://farefwd.com/index.php/2020/12/15/overgrown/
  73. https://www.tunefind.com/song/james-blake/retrograde
  74. https://www.rollingstone.com/music/music-news/james-blake-wins-the-2013-mercury-prize-72432/
  75. https://pitchfork.com/news/66772-james-blake-reveals-he-ignored-beyonce-lyrics-and-turned-down-drake/
  76. https://www.vulture.com/2021/10/james-blake-has-come-to-terms-with-his-underrated-influence.html
  77. https://www.theguardian.com/music/2019/feb/05/james-blake-how-the-producer-became-black-americas-favourite-brit
  78. https://glidemagazine.com/290099/10-years-later-revisiting-james-blakes-borderless-genre-bender-overgrown/
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