Perhaps I’m becoming old and jaded. Or perhaps I feel I’ve seen it all before because, well, everything does become rather much of a muchness after a while. Where hyperbole’s concerned, it’s most certainly a case of the latter, leading to the former, I suspect. Press and pres releases, man. So much hot air.
So, The xx, I’m primed to believe, are ‘confoundingly good (Uncut) and produce ‘hauntingly beautiful music’ (Nylon) presenting us with a debut album that is ‘perfect... Melancholic op at it’s best’ (ID). But do they? Do they really? I mean, how many new bands actually fulfil the hype?
The xx come tantalisingly close on their self-titled debut. Beginning with the inspiredly-titled ‘Intro,’ ‘xx’ drifts in with a chorus and reverb-drenched guitar that wouldn’t sound out of place on Interpol’s ‘Turn On the Bright Lights’ before a whipcrack snare and wordless vocal melody suggest that they’re painting from an expanded palette.
‘VCR’ confirms this. The sparse and spacious instrumental arrangement allows the vocals to take the lead, and I’m reminded of Young Marble Giants than anything from more recent times.
As the album progresses it becomes clear that The xx are strongly of the opinion that less is more, delivering a succession of songs that are understated, but not underdeveloped. While the close of ‘Islands’ introduces expansive dance synths and a more dominant beat, it’s done to good effect and the elements meld seamlessly without sounding forced or contrived in their amalgamation of contrasts.
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There’s no shortage of atmosphere here, with ‘Fantasy’ rolling by in a semi-ambient haze and the upcoming single ‘Basic Space’ has a laid-back vibe and combines minimalism with a retro-sounding disco snare straight out of the 80s sounds vault.
‘Infinity’ does sound very much like a cover of Chris Isaac’s ‘Wicked Game’ and ‘Orinoico Flow’ by Enya. Both at once. I like ‘Wicked Game.’ I don’t like ‘Orinoco Flow.’ However, the breathy female vocals that waft over the reverb-laden guitars and clattering snare, in contrast to the drawled male baritone vocals combine to form something pretty special, and something that, ultimately, I do like.
Into the home straight, ‘Night Time’ is reminiscent of ‘Missing’ era Everything But the Girl, but there’s a nagging Cure-esque guitar line in the mix too, and again evidences just how adept The xx are at drawing on the most incongruous of references while sounding completely unlike any of them, or anyone else for that matter.
Overall, ‘xx’ is an assured and accomplished album, in which the quality of the song-writing and an unusual approach to production really do serve to set it apart from the rest of the pack.
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