It’s been a pretty smashing start for the xx. The band, whom all hail from London, received some pretty rabid critical attention when they released some unconventional covers of R&B personalities including the late Aliyah. What followed was a full-length LP, a tour with Micachu and the Shapes (amongst others), more critical raves, and now they’re gearing up for another tour with the UK’s current “it” girl Florence & the Machine (a favorite here at the Void). While the praise of the NME and Pitchfork crowds can sometimes be doled out a bit too freely, success still isn’t supposed to come this easily- and with the band’s cumulative age barely cracking the 80’s, it’s also not supposed to come this quickly! So what gives? Strangely enough, what gives is that in xx the band has released one of the most subtle and self confident debut albums in recent memory.
For whatever reason, when something is receiving hyperbolic levels of universal acclaim, I tend to approach it with a pretty large dose of trepidation (how bizarre, right?). So naturally when I had heard about this merry band of young Londoners blazing their way into the hearts of musical fans, I was fully prepared to find myself underwhelmed despite the hype. All before hearing a single second of music. Then I pressed play. If I were to be entirely honest I would have to say that I knew that I was going to dig the xx after just a minute or so of the opening “Intro” track. The song, aside from some mild humming, features essentially no vocals what-so-ever, just the effective groove of a pulsing drum and a funky guitar line. This is the opening track on a debut album, and the band chooses their only instrumental song! And it’s good! I mean, did I mention they’re barely over twenty? It’s a ballsy move, and it’s also very reflective of the self-assuredness that is ever so present all throughout xx.
Much of the credit has to be given to the vocals of Romy Madley Croft and Oliver Smith. This makes sense given that, like many twenty year olds, most of the subject matter the band explores is that of the joy and turmoil of relationships. Many of the tracks on the album feature verses what essentially resembles a dialogue between to the two young vocalists, and they both prove to be very capable of carrying this load despite an often times “less-is-more” approach to musical backing. For example, towards the middle of “Heart Skipped a Beat” there is a burst where the only vocals is Croft and Smith repeating “sometimes I still need you” back and forth to one another, with only the pulse of the drum mimicking a heart beat behind them. Thankfully, there’s an undeniable chemistry between the two young singers that makes such moments a joy to listen to rather than a chore.
There are only a couple songs on the album that belong solely to one singer or the other, but when they do arrive, both Smith and Croft prove themselves more than able to keep the pace. There’s an alluring quality to Romy Madley Croft’s voice in particular that makes her singing seem almost effortless and soothing. On “Shelter”, where she is the lone vocalist, she is especially on her game. On the track she bounces between seductive and tender. At one point she breezily sings “I still want to drown, whenever you leave, please teach me gently, how to breathe.” There’s a heartbreakingly simplistic approach to her words that just seems to resonate throughout her songs.
The first two singles that the band released from the album were “Crystalised” and “Basic Space”, and while both songs were welcomed with open arms by listeners, neither track is something that I would describe as being particularly conventional. “Crystalised” is a song which basically features a guitar riff as the hook (something that I’ve always been a sucker for), while the latter track is largely defined by its use of hand drums and the bass guitar (also courtesy of Smith). That’s the beauty of the xx and their music, they posses a deft touch that allows them to create music that simultaneously understated and exciting.
Something that I really enjoyed about xx is that there is a fair amount of variety to the songs. “VCR” is almost pop, catchy hooks and all, while “Infinity” is more ethereal, featuring exceptional ebbs and flows in tempo. On “Heart Skipped a Beat” the beat his almost playful, yet on “Fantasy” the entire first half of the song is almost entirely reliant upon Smith’s vocals and the second half consisting of only murky instrumentals. The xx manage to do a number of different things, and yet somehow they seem to do all of those things very well. One moment the music will seem reminiscent of modern R&B, the next it will call upon the swooning emotionalism of post-rock, and the next it will bring to mind the pulsing relaxation of lo-fi. There’s just a certain excitement as a listener that’s born from not knowing what’s coming next.
I realize I may sound like I’m gushing a bit, and I probably am. But it’s not very often that I come across a new band that immediately grabs me the way that the xx have. Sure there are some moments where the band’s youth shows through (for example, I found “Night Time” to be pretty forgettable), but on the whole they’re playing beyond their years. There are not many debuts that are as promising and skillfully crafted as xx is, and it’s not very often that a young band is deserving of the over-the-top praise being poured upon them. Fortunately, the xx are not your average band, they’re something else entirely. I can’t express how much I look forward to hearing more from them in the future and figuring out exactly what that is.
SCORE: 4.3 out of 5.0