Tag: The xx

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Gig Review: The xx at Splendour in the Grass

“I knew it’d be good, but I didn’t think it’d be this good,” said the lady standing next to me, a grey fox some may call her. Her hubby, also donning salt and pepper hair, was dancing around trying to figure out how to record on his iPhone 4.

Since their first album ‘xx’, the British trio have released another two, and are now touring their latest release ‘I See You’, which came out at the beginning of the year. I made a significant claim that their first album ‘xx’ was one of the most cohesive contemporary albums. And, that’s what this British band master – consistency. After releasing their third album ‘I See You’, Romy, Oliver and Jamie xx travelled to Australia to play their one and only show at North Byron Parklands’ Splendour in the Grass. By the end of their set I remembered why I had made such a claim and why I am still keeping my word, but I had a stark realisation. Read more …

In Colour

Jamie XX – In Colour Review


We’re All Under One Roof Raving


There are few albums I’ve looked forward to in recent years as much as the solo debut of Jamie XX (Jamie Smith); SBTRKT’s “Wonder Where We Land”, Bombay Bicycle Club’s “So Long See You Tomorrow” and basically anything from Flying Lotus. But I’ve been proclaiming the greatness of this album before it was even conceived.

Once upon a time, there was this band called ‘The XX’. The band innovated a new type of indie-tronica; whispery, reverbed-to-all-hell vocals over clean guitar and bass licks, topped off with minimalist and esoterically brilliant production. Some would later call this the re-emergence of “dream pop” or music to shoe gaze to. The XX are basically the thinking bohemian’s answer to mass produced commerce pop. (For full disclosure, I may be typing this from my desk which is situated below a poster of the band’s famous “solitary X” logo, which I received in my limited vinyl sleeve of their debut album, including Jamie’s collaboration with GIl-Scott Heron “We’re New Here” fresh off my turntable. Yes, I also may have pre-ordered the limited vinyl of “In Colour”.) You may say I’m slightly biased, which from the evidence presented above, has a slight chance of being true. But I will risk my entire journalistic career on the fact that this is one of the best albums of the year, and my favourite album of 2015 thus far.


Some would say that the success of The XX was grounded on the fact that Jamie Smith’s skills as a producer and pseudo-drum machinist were so up to par they were a hole-in-one from the start. Golf metaphors aside, he has come a very long way from the whispery bedroom antics of a 17 year old. Solid remixes and a fantastic collaboration with legendary blues and jazzman Gil-Scott Heron already set Jamie apart from most of the electronic music scene, but fans waited with (deservedly) bated breath for a solo album, to see what Smith could do when the shackles and conformity of remixes were removed and the extra time to fully flesh out an LP. As a long time aficionado and homager of the UK house music scene, Smith drops hints of his natural element in all his other works, but this is the first time we really see him immersed in the glorious rapture of it. “In Colour” isn’t a revival of UK dance music, it’s a revitalization and celebration of it. From start to finish this album pays homage to this great club culture, making its own mark before reinventing it once more.


Where’s the lighter massive?

All the way from London town


Few recent electronic albums have such a high level of consistent quality as this one. Opening with the club enthused Gosh, Smith sets up one of the most confident and technically proficient openings since Mount Kimbie’s “Cold Spring Faultless Youth”. Many of the tracks seem like the standard Jamie XX affair; minimalist steel drum plucks, the ever present hip-hop and soul enthused vocal cut, and the airy reverb carry overs from The XX, but the album is far from cliché. A track like The Rest Is Noise, one of the highlights, containing so many varying and evolving elements over its four minutes that it achieves a Jon Hopkins-esque level of building rapture.

Just as refreshing are the co-produced joints on the album, with UK electronica veteran Kieran Hebden or “Four Tet” to the uninitiated. Bringing in some signature break beat sampling and ‘arpeggi-all-over-the-place’ melodic runs make SeeSaw a stand out in its own right, transforming what could have been another The XX-alike song into a sonically unique send up to multiple dance genres.

Both of Jamie’s bandmates feature on the album. Guitarist and female lead Romy Madley Croft, featuring on the aforementioned SeeSaw as well as Loud Places (and I suspect having done some extra guitar work on the album), and bassist and male vocalist Oliver Sim, working on Stranger in a Room. Although a solid song that contains an interesting, dark and dreamy aesthetic, it is a shame that it’s so completely overshadowed by basically everything else on the album. But on an album of standout tracks, solid is out of place.

Any one of these songs alone show the talent of the UK producer: Loud Places is a catchy, harmonious, almost indie piece that actually represents what The XX could have been if they took on a Florence + the Machine pop vibe. Amazing vocal work and terrific production lead into what may be the track of the album, if not year. Likewise, I Know There’s Gonna Be (Good Times), featuring Young Thug and Popcaan, is a refreshing Hip-Hop intermission that shows that the UK house head could hold his own on any rap label. As is his forte, Smith illustrates his glorious sample choice with a sample from The Persuasions; joyous 1972 vibes enthusing this minimalist and modernist answer to a west coast beat. Young Thug seems more at home with these playful melodic beats than the rest of his trap enthused back catalogue, and with the whole song is so confident, sound and elegant, I would listen to a whole album of just this pairing.

Although there are several returning tracks from the Jamie XX EPs, such as Girl and Sleep Sound, they fit so well into the album’s high standards that you wonder what impact they would have had hearing them for the first time. A humbling experience no doubt, for any electronic entrepreneurs.  A critic could argue that Smith is just pulling a Todd Terje; a “let’s just assemble all the EPs onto one album and go out for lunch” sort of affair. Far from it. I can’t imagine these songs being in any other collection than with “In Colour”. Sleep Sound is so monumentally Jamie XX in its vocal cutting, minimal drum filtering and melodic steel drum that it’s almost nostalgic to hear it again. And with swinging drums, fantastically auto-filtered vocal cuts and a bouncy baseline, Girl being the perfect book-end to the album. Synth work and sound spacing on this track is on another level to anything else this year. If Gosh was the show opener, then Girl is the showstopper, bringing the album back to its peak and leaving you wanting so much more.


 This is to the Champagne Crew:

We do not need anybody,
we are independent


Overall, this album holds together so well as a cohesive soundscape that I’m in awe. From start to finish whether you play singular songs, sets of them, or hear it on the radio, you always come away with the same conclusion that this is a fantastic example of how far electronic music has come over the years. Some might say this is the intelligent person’s dance music, and that’s a claim I would not refute one bit. But this is just dance music. From the grimy UK club to the Ibizan beach to the GAP, Hot Topic and more. This is an album for anyone who ever had a tertiary interest in electronic music, up there with “Immunity”, “James Blake” “There is Love in You”, and of course, “We’re New Here”. Despite reinforcing the cliché, there really is something for everyone.

I heavily insist that the album should be listened to all in one sitting. Don’t get me wrong, belting out specific tracks will get any party or kitchen dance floor started. But sonically, aesthetically, thematically, musically and even artistically, it should be your duty to try it at least once. Even if you don’t appreciate “alternative” electronic music, a musical journey will ensue where you will discover a lot about this album, yourself, and what you think about UK house music in 2015. Because we just reached its pinnacle. The Rest is Noise.

In Colour


Attack Decay Sustain Release: Issue 1

They say 2012 will herald the end of the world in December – if that’s true, we better make it a fuckin’ big one, huh? Here’s hoping you all managed to kick off the year in style, whether it was with mates at a houseparty knocking back beers or shaking your arses at one of the many clubs in Melbourne playing host to all manner of international superstars. Personally, I struggled for days after mine – Heavy Innit at Laundry on New Year’s Eve followed up by an all-day affair at Summadayze with the lure of Skream and Benga, Flying Lotus, JPS, Tiga, Pendulum and more proving undeniable. What a weekend!

Hey, before I go on, I’d best introduce myself first. Hi: I’m Miki, and I’m one of two music directors at Radio Monash during 2012, alongside longtime-contributor and show host Bill Murphy. This will be my third year of a Bachelor of Arts double majoring in Criminology and Human Rights Theory, and my third year with the glorious institution that is Radio Monash. I like drinking tea, reading, and the television series Spooks. I’m always first to hit the dancefloor, and my heart beats to the thump of a kick-drum. I really, really like dance music. Bill and I used to run a show called Choose Life together and we used to joke about how our completely contrasting  tastes in music with weird crossovers could cover the whole music industry between us. Well, this year we’re looking to put that to the test in delivering Radio Monash readers with news, reviews and our own unique take on the glorious thing that is the music industry – and I’ll be taking you through the clubbier side of things.

So, what’s been happening? Oh, plenty. Andrew Weatherall, whose fingerprints are all over some of the nineties’ biggest releases as head of the famed Junior Boys Own, including albums by Underworld, the Chemical Brothers and Primal Scream, is slated for a string of shows across the country – no doubt showing off his perpetually-relevant and refined take on the dance music scene in the process.  Check out: his recent remix of fifteen-minute album-closing ‘Sun God‘ from Cut Copy’s Zonoscope, released last year – a sun-drenched throwback to the the sounds of nineties dance. Let’s get ravey: Andrew Weatherall plays New Guernica on January 13.

Daniel Martin-McCormick’s name is many things to different people – whether it’s as part of trip-hop outfit Mi Ami, as lone operative Sex Worker signed to Not Not Fun – or as Ital, his latest guise under his first singles demanded the attention of authorities on house everywhere, including the legendary Planet Mu, on which his debut album Hive Mind is set to be released. Incredible. Ital will be at Buffalo Club on January 25 – get on it!

Not to mention that Big Day Out 2012 is on its way, and with it a few sweet little sideshows to check out. Sample wild child Girl Talk hits the Palace on January 31, followed by Norwegian purveyors of hypercolour disco-pop Royksopp, who’ll have their turn on February 2.

Tickets for Golden Plains Sixxx have officially sold out, as was to be expected from one of Victoria’s most well-loved musical institutions, and with a lineup boasting Bon Iver, Roots Manuva, Seekae and more, who could possibly resist? We’re hoping a number of you have been lucky enough to secure tickets for what will be one of the best weekends of 2012 – and the beats fiends among us would be beyond foolish not to check out what Melbourne’s own defiantly uncategorisable Seekae will have at the ready. Need convincing? I doubt it, but if you do, check out this seriously stunning mix they put together for Beats and Pieces. Yesssssss!

So January’s looking like a pretty good month off uni for us at Radio Monash. In terms of music news, what’s been kicking? A perennial favourite of many a seasoned Radio Monash host, Hotflush Recordings head honcho and man of dubstep, techno and everything in between Scuba (or, to his parents, Paul Rose) has just announced the release of his third studio album titled Personality, set to drop on his own imprint in February. After a hectic but productive year that saw him touring relentlessly on top of releasing EPs Adrenalin (track of the year or what?) and a 12″ under his minimal-techno alias SCB, as well as a deliciously deep DJ-KiCKS compilation, there is no stopping this dude. With a snippet of lead single ‘The Hope’ available on YouTube sounding as deliciously harsh-edged and heavy-hitting as we’ve come to expect from the man, we’re definitely ready to get our hands on the latest Scuba LP.

Speaking of upcoming releases, we hear The xx are planning on dropping their sophomore effort rather soon. Took them long enough, hey! Judging by the sounds of this demo track Open Eyes that’s floating about on YouTube and SoundCloud, we can expect a similarly-mature and refined feel to their debut effort, from one of London’s most multitalented upcoming producers and crew.

A new EP from Burial titled ‘Kindred’ is also slated for release sometime this month. Looks like he’s been busy in the studio these past twelve months – we’ve been loving his collaborative efforts with everyone from Thom Yorke, Four Tet and Massive Attack over the past year, and given the four long years that have elapsed since the release of his last album, the hauntingly perfect Untrue, we’re just gagging to see what the mysterious South Londoner conjures up next.

Summer’s fever’s calling! Welcome to the year in dance – it’s going to be a biiiiiiiiiig one, and I’m sure as hell looking forward to what’s coming.