In keeping with his last two albums, The Colour in Anything is a hard, frank, and unsparing listen. But if you listen closer, you will notice some tonal shifts in the fog. For one, Blake shed the monomania of his past work, allowing other voices and sounds to creep in. He’s noted in interviews that *The Colour in Anything *is meant to represent a sea-change, personally, musically, and geographically. The disposition of this record is suppose to reflect its milieus: Southern California, friendship, and new love. Seven of its 17 tracks were co-produced by Rick Rubin. Much of the album was also mixed and mastered at Rubin’s Shangri-La studios in Malibu. Frank Ocean and Justin Vernon appear throughout, lending writing and production help. There’s also Connan Mockasin, who appears, bass in hand, for a song. James has stepped out of his London bedroom and invited collaboration at an unprecedented level. Clocking in at 76 minutes, The Colour in Anything is Blake’s wonderfully messy dive into maximalism.
| A1 | Radio Silence |
| A2 | Points |
| A3 | Love Me In Whatever Way |
| A4 | Timeless |
| A5 | F.O.R.E.V.E.R. |
| B1 | Put That Away And Talk To Me |
| B2 | I Hope My Life (1-800 Mix) |
| B3 | Waves Know Shores |
| B4 | My Willing Heart |
| C1 | Choose Me |
| C2 | I Need A Forest Fire |
| C3 | Noise Above Our Heads |
| C4 | The Colour In Anything |
| D1 | Two Men Down |
| D2 | Modern Soul |
| D3 | Always |
| D4 | Meet You In The Maze |
