And even though it's pretty damn hard to understand a word he's saying, that melancholy core is present. As with many of Blake's best songs, they're simple, minimal, glacial. These are dubstep ballads reminiscent of his 2010 EP Klavierwerke, except with his vocals brought to the front of the mix. It's like that's my ultimate calling.'Įnough Thunder's remaining four songs are also decidedly low-key, though vastly more engaging. In an interview from April of last year, he said, 'Although I'm making this heavy dance music, I sometimes just sit down at the piano and just sing. Even though Blake has been slowly unveiling his singing voice over the last two years, these plain and flat tracks sound surprising. The same can be said of the title track, an original piano-and-voice composition. Without any of his signature, modern embellishments, Blake's take has the feel of a stiff recital, his vocal undulations ironically sounding less natural without those well-situated sonic accoutrements. Unlike his 'Limit to Your Love', which expanded and beautifully distorted the notion of a 'singer-songwriter,' the 'A Case of You' cover contracts the term, revealing Blake's limitations as an artist. Blake switches Mitchell's guitar for piano, and leaves it at that. Enough Thunder's remake of Mitchell's 1971 ode ' A Case of You', recorded live at the BBC, is different. In that way, it was the perfect cover- he made the track his own while keeping all the key elements of the original. When he took on Feist's ' Limit to Your Love', he infused it with water-rippling sub-bass and epic pauses while retaining its original emotionality.

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