Stepping Out into the Light

Stepping Out into the Light

The third LP from the London trio sees them embrace new sounds and shift away from the quiet, minimalist approach that first made them popular By Chanun Poomsawai

ARTS & ENTERTAINMENT
Stepping Out into the Light

If there's an adage that could succinctly describe the overall sonic aesthetic of The xx up to this point, it would be "less is more". As trite as that may sound, the trio's 2009 self-titled debut was a prime exercise in restraint and impactful minimalism -- a meek concoction of hypnotic basslines, stark drum machine and laconic, understated vocals that recall a furtive whisper in the dark. It's the kind of music made principally by introverts for introverts, but somehow, along the way, its indie-slash-R&B-slash-soul appeal attracted a far wider audience. The group went on to win the Mercury Prize the following year and suddenly found themselves struggling with a pop star status.

In keeping with the stylistic blueprint that had made their debut an unlikely breakout hit, Romy Madley Croft, Oliver Sim and Jamie Smith returned in 2012 with Coexist, a sophomore LP teeming with even more atmospheric navel-gazing. "Less is more" effectively became "lesser is more" in this case. In the meantime, Smith was working on what was to become his solo debut under Jamie xx In Colour, an inventive, sampling-heavy dance record suffused with varying shades and textures.

On The xx's third studio outing, I See You, we see those multi-hued influences seeping into their signature monochromatic sonic palette. Lead single On Hold marks the band's foray into cautious maximalism by incorporating a sample of Hall and Oates's 1981 hit Can't Go For That (No Can Do). While this would have sounded jarringly out of place on their previous releases, the technique proves to be the track's successful component here as it paints an intriguing contrast to the lyrics about the strain of a push-pull relationship.

Say Something Loving is another track where sampling (The Alessi Brothers' Do You Feel It?) plays a significant role in augmenting the mood. The bittersweet narrative, conveyed by a vocal interplay between Sim and Madley Croft, hits all the right spots: "You say something loving/It's so overwhelming, the thrill of affection/Feels so unfamiliar." Elsewhere, we have two polarising standouts Dangerous and Performance. Flecked with horn bursts and two-step shuffle, the former is perhaps the trio at their most gregarious whereas the latter hearkens back the quiet intimacy for which they are known.

The rest of I See You flits between the euphoric dance floor (A Violent Noise, Lips) and the dark recesses of the mind (Brave For You, Test Me, which openly addresses the cracks in their relationship as bandmates). As much as this approach may divide fans, the majority of which seem to prefer The xx's established brand of hushed introspection, kudos must be given to the threesome for trying to break out of their comfort zone and deliver a body of work that not only corresponds to their collective potential, but also looks outwards rather than inward.

THE PLAYLIST

Civilize's Band/ The Stray (Lao Khaen)

Civilize's Band, otherwise known as Bangkok Wakeup from season 4 of Thailand's Got Talent, are the latest to join the ranks of up-and-coming artists like Rasmee, The Rube and JindaJohn who blend traditional Thai music with Western influences. Their debut single, The Stray (Lao Khaen), is an upbeat number built on rapid-fire ranad playing, buoyant funk bassline and roaring rammana drums. The traditional singing style brilliantly complements the rhythm section, while a Calypso rhythmic pattern adds a surprise vibrant, tropical vibe. This might just be one of the most exhilarating pieces we've heard in recent memory.

British Sea Power/ Bad Bohemian

Brighton's indie-rock ensemble British Sea Power are gearing up for the release of their crowdfunded sixth studio LP, Let the Dancers Inherit the Party, with new single Bad Bohemian. Arriving after 2015's Sea of Brass, the song is a wistful mid-tempo jam that brings to mind Bruce Springsteen and Foo Fighters. Set to drop later this March, the album is described by guitarist Martin Noble as being "made to a background of politicians perfecting the art of unabashed lying, of social-media echo chambers, of clickbait and electronic Tonka Toys to keep us entertained and befuddled".

Harlea/ You Don't Get It

North London newcomer Harlea has made quite an impression on us with her self-released debut, Miss Me. Here she's treating us to its equally brilliant follow-up, You Don't Get It. Kicking off with bluesy electric guitar growls, the song celebrates the female power with biting lyrics ("You don't get it, that's why you won't get it … This ain't about you baby/It's not about what you want"). Equipped with a punk attitude and raw vocal edge, the 22-year-old musician would definitely make Courtney Love and Shirley Manson proud.

Dirty Projectors/ Little Bubble

Little Bubble marks the second new song from Dirty Projectors after excellent Keep Your Name. Still wallowing in a post-break-up haze, vocalist Dave Longstreth begins "Morning/About the break of day/Here we lay, arm in arm/And cradled by the dawn." The song then unfurls to a languorous R&B melody, strings, brass and a few isolated piano keys. "We had our own little bubble for a while," he muses as the sound of little bubbles bursting swell in the background, reinforcing the metaphor.

Ed Sheeran/ Castle on the Hill

English singer-songwriter Ed Sheeran returns this year with Castle on the Hill, a stadium-ready guitar number that pays homage to his countryside hometown in Framlingham, Suffolk. Lifted from his third studio output ÷ (Divide), the track finds Sheeran reminiscing about the good ol' days of growing up ("When I was six years old, I broke my leg/I was running from my brother and his friends." He then gets heavily nostalgic during the stomping chorus, singing about "driving at 90 down those country lanes, singing to Tiny Dancer" and how he can't wait to go home.

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