Review: Jamie xx 'In Colour'

Image: Jamie xx 

Colour is hardly something you'd associate with the mystifying figure of Jamie xx, and probably still for the majority of this record. We've learnt an awful lot about the Londoner in the run up to his solo debut, and this is in essence his answer to the stigma that paints him as a studio recluse. 

We largely figured its deep nostalgic direction from the initial drop of tracks that included the joyous 'Loud Places' featuring band mate Romy and the yearning of 'Girl'. 'Sleep Sound' harks back to earlier material like 'Far Nearer' with pristine steel drums that gradually lead into the subconscious.

Though it's 'Gosh' (below) that defines the record. Steadily piecing each element together, a straightforward drum loop gains a skittering interface that euphorically blossoms through an engrossing keyboard piece. All of that complete with MC Strings' outbursts of "Oh My Gosh" pulled from an old jungle tape. 

Likewise with Romy, who also lends her vocal chords to the gracious pulse of 'SeeSaw', the xx's Oliver Sim features via 'Stranger In A Room'. In effect, the album bridges both Jamie's projects, representing his intangible ability to accentuate Oli and Romy's vocal prowess with his production wizardry.    

Again, 'Hold Tight' is a nod to each major UK clubbing scene that's shaped Jamie, it's obvious his affinity with Plastic People is a large influence in his work, likewise with inclusions of Mark Leckey's Fiorucci Made Me Hardcore in 'All Under One Roof Raving'.

His customary steel drums reappear in 'Obvs' and 'I Know There's Gonna Be (Good Times)' (below) further establishing his blueprint, with the latter playing curve-ball due to its hip hop aesthetic.

'In Colour' is effectively an insight into Jamie's being, outing him as a well informed musician staying true to the people and various institutions that have shaped him.

It's unselfish work for a solo attempt, drooped in nostalgic cultural nuances, largely remaining gloomy with occasional spurts into tropical corners of the left-field. Similar to the direction of Caribou's Our Love, it's a crossing of electronica and pop, again exposing a mainstream audience to areas of eclecticism not as frequently explored. 

Like this? Read our review of Caribou's Our Love