Net Music Review

XX by The XX

'

The Mercury Music Price often throws up some leftfield winners, Gomez, Badly Drawn Boy, Anthony & The Johnson's, but surely The XX top it all. Fusing elements of R&B, post rock and indie it is rare to see such maturity and restraint from most bands, let alone on a debut by a group in their early twenties. There is also something eerie and haunting about The XX's debut album, something that may in part be attributed to the fact that it was recorded in a garage that was part of XL studios, often at night. The band also manage to pull of the trick of being instantly recognisable despite not having a hit single or novelty tune.

Starting with "Intro" which does exactly what it says on the tin, you know immediately that this is something quite different. The drums seem to soar above a minimalist guitar which sets the tine for the rest of the album, the whole thing seems so fragile and claustrophobic that it could shatter apart at any moment. "VCR" quickly follows, starting with bell like tones before a repetitive guitar and bass soon take over with Romy Madley Crofts vocals blending in almost perfectly giving the impression of a perfectly still, quiet night Oliver Sims occasional vocals break up the peace just when it threatens to get monotonous. "Crystallised", one of the stand out monets of the entire record starts off with another repetitive guitar line before Sims trades vocals with Croft over a simple bass line. Things pick up a gear for the chorus with the guitar kicks in with the drums to create a sense of tension. If "VCR" was the sound of a quiet, still nigh time, then this is the paranoia walking down a dark alley late at night constantly looking over your shoulder to see if you are being followed. The spikey guitar and up tempo beat of "Islands" serves to break the tension, slightly, carrying on in much the same way as what has preceded it without threatening to become boring. "Heart Skipped A Beat" kicks off with an R&B inspired beat before Sims almost mumbled vocals come into the fore in a call and reply with Croft.

"Fantasy" finds The XX at their most atmospheric, a distant vocal from Oliver Sim semi chanted over a low synthesizer which acts as a break between the two halves of the album. Keeping on with the night time theme "Shelter" feels like the period just before dawn, when everything seems so peaceful with the guitar echoing around and Crofts hushed vocals. "Basic Space" carries on the marginally lighter feel to the second half of the record. Another R&B esque beat, minimalist synth and bass. The guitar here is used sparingly but to good effect to create something almost akin to upbeat and positive. "Infinity" reminds me of the post-rock of La Bradford at their best, only with vocals. The carefully measured guitar and barely audible bass combine perfectly and if you listen hard enough there is a hint of Chris Rea, and no, I'm not joking or going mad! It is perhaps appropriate that XX closes with songs named "Night Time" and "Stars". The former builds from a simple guitar line and vocals for the vast majority of the songs before springing a surprise in the form of a dancey drum beat, while the latter starts with another understated bass line and more mumbled vocals from both Sim and Croft seemingly drifting off into the dreamscape of the ether.

At first listen, XX may be difficult to take in and appreciate all at once, the dark foreboding atmosphere that permeates throughout the record could be off putting to some. However, for those who persist, repeated listens will yield so much, listen to it through a good quality sound system loudly and you'll be able to pick up so many of the subtleties that would have undoubtedly been missed first time around. A worthy recipient of the Mercury Price, a place in your record collection and affections.