In a way, James Blake did to R&B what Tame Impala did to psych-rock: Both artists broke down barriers on well-trodden paths to clear space for new hybrids in their respective genres.

Blake is a multitalented musician hailing from the U.K., a singer, songwriter, piano player and electronic producer who released some very admirable EPs in the past three years, dabbling in styles like future-garage, wonky and even a bit of dubstep. In 2011, he made a huge splash in the electronic music scene with the release of his full-length, self-titled debut; this LP revealed his unique existence between the borders of electronic experimentalist and R&B singer-songwriter.

Just like his previous work, his latest LP, “Overgrown,” features him playing piano, singing ballads and producing electronic beats that meld together in an emotive, and at times, sexy way. Although some have criticized him for being a little too experimental with his productions — often blending a few too many styles into one song — “Overgrown” reveals a much more balanced, almost subdued side, which may reveal his attention to these criticisms.

However, that is not to say he does not also take some creative risks with this album. His song “Take a Fall For Me” begins with these dreary piano keys, strange pitch-shifted vocal samples and a subtle beat — which initially seem like old standbys for Blake; but, as the track builds, Wu-Tang’s RZA emerges for a surprising performance. RZA sings a few bars about a woman who he passionately loves but who won’t reciprocate his feelings. His anguish crescendos as he sings about the pain he feels watching his love marry another man. RZA’s feature comes out of left field, yet his verses are simultaneously controlled and brimming with passion in a way which conforms well to Blake’s production. The two artists build off each other until the whole track swells with heartbreaking emotion.

The next track, “Retrograde,” shows Blake taking another risk as he delves almost completely into his R&B side. The song is a pretty ballad beginning with a restrained vocal melody, which progresses into a climactic chorus where he sings in a poignantly pinched voice. The track ends in a huge emotional synth swell that really showcases his artful mixing of R&B and electronic styles.

There are plenty of other tracks on the album worth noting like “Voyeur,” “Digital Lion” and “Life Round Here,” which take the listener back to his electronic roots. These tracks are at times icy and dissonant, yet they also maintain infectious rhythms that keep the listener forever wanting more.

While the album may not be as adventurous as his self-titled debut, the majority of the songs on “Overgrown” are true displays of beauty. Blake has shown there are still ways to innovate R&B music whilst adding a meticulously thought-out mixture of electronic production.