This London group was one of the most hyped bands of the year, and deservedly so. Sleek, minimal, midnight textures elicited praise from various corners of the indieverse. With exciting influences apparently stemming from modern R&B, electro-pop, and Interpol, among others, the young band was instantly praised before most people had listened to the record more than a few times. Throw in the intriguing vocal theatrics between Romy Madley Croft and bassist Oliver Sim--largely based on the sexual drama of interpersonal relationships--and you have one potent debut.
On first listen, The D Man suggested that The xx was a co-ed cross between The Stills' updated new-wave and The Whitest Boy Alive's spaced-filled, guitar minimalism. But after further listens, xx is an album that ultimately dissipates into the darkness, with only shadows of ill-defined influences dancing about. The album retreats to its own negative, basic space. And it's all the better for doing so.
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