There are definite similarities between The xx and Cardiffian cult legends Young Marble Giants. With their monochrome aesthetic they even look like the cover of Colossal Youth. Much like Young Marble Giants, The xx subtly use space and silence to create the dynamics of their sound, whilst metronomic beats tick past unnoticed. They have clearly decided to shun the Indie Tricks 101 pedal stomping, quiet then loud sections and the end result is very refreshing.
On xx, star gazing singer Romy Madley Croft’s tigress fuff is soulful and dreamy without sounding insipid and the Viva Voce-esque vocal interplay between her and Oliver Sim on Crystalised, VCR and Islands is delivered with a distinct, chilled American R&B flavour. These tracks are given strength by atmospheric strings and a rhythm section that moves and soothes like a Thai masseuse. The beautifully down tempo Shelter is another winner, containing pockets of skeletal bass and sad guitars soaked in reverb with the treble turned up to 11.
Over the course of a whole album though, their sparse sound begins to feel a little too spartan. On some tracks, the band’s pretty melodies fail to fully connect with the listener, lacking the emotional punch of say Joy Division or Low, who do dark and desolate with better results. Also the cheeky pinching of the chorus to Chris Isaak’s Wicked Games for their Infinity, does suggests a dearth of ideas. But when all the right elements come together, The xx create sonically seductive music that suggests a promising future if they can hone their skills.
On xx, star gazing singer Romy Madley Croft’s tigress fuff is soulful and dreamy without sounding insipid and the Viva Voce-esque vocal interplay between her and Oliver Sim on Crystalised, VCR and Islands is delivered with a distinct, chilled American R&B flavour. These tracks are given strength by atmospheric strings and a rhythm section that moves and soothes like a Thai masseuse. The beautifully down tempo Shelter is another winner, containing pockets of skeletal bass and sad guitars soaked in reverb with the treble turned up to 11.
Over the course of a whole album though, their sparse sound begins to feel a little too spartan. On some tracks, the band’s pretty melodies fail to fully connect with the listener, lacking the emotional punch of say Joy Division or Low, who do dark and desolate with better results. Also the cheeky pinching of the chorus to Chris Isaak’s Wicked Games for their Infinity, does suggests a dearth of ideas. But when all the right elements come together, The xx create sonically seductive music that suggests a promising future if they can hone their skills.
