It's been a busy year for this new star of dub-step's future, having released his first full-length, self-titled album, along with two EPs, Love What Happened Here and Enough Thunder. After receiving a great response at the release of his album, we were expecting great things from subsequent works. Although no disappoint, Enough Thunder is arguably not what anyone would have predicted. Enough Thunder is an indication of Blake's slight change in direction. As the title suggests, his previous refreshing take on the dub-step scene has been toned down; the lack of bass in this EP indicates that there has been too much thunder since his baseline-sufficient eponymous first album. It has not been completely wiped out however, and there are still many glimpses of his recognisable sound. The electronics have merely been relegated to a secondary role, supporting his vocals and often intricate piano. The music no longer pulsates through our systems through electronic medium, but through simple elongated piano chords (albeit sometimes teched-up chords). We Might Feel Unsound is the most recognisably "Blake". His gorgeous lyrics resonate on top of intricate drum patterns throughout, and I can only imagine the intensity of this track when experienced live. Similarly, Fall Creek Boys Choir is very recognisably "Vernon". Much as I enjoy this track, it came as no surprise, and sounds exactly as you would expect a James Blake collaboration with Bon Iver to sound. It strikes of Vernon's period with Volcano Choir and the creation of Still (Woods). However, I think this EP is the perfect time for this collaboration, as the acoustic edge he brings to Blake's work should never be lost amidst an ever-flowing, pulsating, deep sea of dub. His cover of Feist's Limit to Your Love was a triumph, and truly set the bench-mark for all follow-up covers from this young talent. He transformed it unrecognisably, giving it an intense edge of emotion and depth which reverberates through clear, isolated beats and his own glorious vibrato. His most recent cover of Joni Mitchell's gem A Case of You, leaves a lot to be desired in my opinion, despite rave reviews spiralling from all corners of Radio One. To cover a "Great" such as Mitchell takes ambition; I at least accredit him with that. I do not deny that he sings it beautifully. His impressively undulating vocals are more than able to cope with this varying pitched melody (a well-known Mitchell attribute). The problem, as i see it, is that it is still unmistakably "that Joni Mitchell track" loved by so many, albeit with a piano in the place of her instrument of choice. Why cover such a well-known track if you are un-willing to put your stamp on it? He has certainly already proven himself capable. Blake has often admitted a distaste for the accumulation of computers with their mass web of wires whilst performing on stage and this track did of course originate from a Radio One Session recording. It is perhaps this slightly old-fashioned nature of his which has urged the preservation of A Case of You. Whatever the reason, the track feels limited, and I can't help but dream about what wonders he could have created had he left himself uninhibited. Much like the title song which completes the track list, this EP left me a little confused and wanting to here just a little more to make it all clear. The tracks are individually good, but all lacking that edge he created with his album. It all seems a tad disjointed. However, it has not all been lost. He has managed to maintain the introspective emotion that captured earlier listeners in this EP. His voice oscillates the line "We can hope for heartbreak now" continuously as the tracks come to a close, perhaps assimilating the turbulence yet to come. I am eager to see if, after the meagre and mixed reception of this step in a more acoustic direction, he may retreat back to the relative"safety" of his once refreshing and daring take on the world of dub-step, or take another step towards total silence.