The 2nd single accompanying Blake's debut LP features two of his more classically solemn, modern chamber soul pieces. Some might balk at this comparison, but it just struck me that the tuning and oddly dappled surfaces of 'Lindisfarne' could punt this as Akira Rabelais for mums. That's no par, it's just pointing out the way in which he's succinctly worked his classical training into a more instantly gratifying sound liked by all, yet still with a curious avant-garde nuance. The baroque soul of 'Unluck' is another unique gem, tying together almost-out-of-time typewriter percussion, ambiguously augmented vox and lambent, fizzing synths in a strange electro-acoustic simulation.
