I’m not exactly sure how to peg James Blake. But if dubstep professes to be music made for dance floors, then the young British producer almost certainly isn’t making it. His proudly unquantized beats (throbs of crunchy sound more than proper drum-hits) skitter in and out of the mix like confused cockroaches; his melodies, while warm, soulful, and usually ripped from records made in far simpler musical times, float over the proceedings like a minute-old ganja cloud — still pungently present, yet barely there. Despite sounding more than a bit like Untold, who’s championed his productions as labelhead at Hemlock, refashioned as a sleazy lounge act, Blake brings a strangely anthemic quality to productions which otherwise would probably be too experimental (or just downright blazed) for club consumption. Indeed, his latest offering, The Bells Sketch for the seriously in-bloom Hessle Audio label, has already attracted the attention of adventurous jocks like Dub War residents Dave Q and Alex Incyde, who managed to move floors (while simultaneously weirding them out, in a good way) when they each closed out recent sets with the A-side. It’s Blake’s most sophisticated record to date, but that doesn’t mean his dance floor credentials make a whole lot more sense.