Play on, Jamie, play on.
I threw off the headphones during my first listen.
In Colour irked me, not because it was bad but because it was clearly different from the sound of xx and Coexist.
Well, that was my mistake:
This is not an album by the xx. It’s a thought experiment by Jamie Smith.
However it is the closest thing we have to a drink of water in the desert sojourn between albums by the xx.
I don’t buy this as a culmination of the xx’s career or even Smith’s career. In Colour is a companion piece. It’s a showcase, an oasis for the earbuds.
Or the official soundtrack for REM sleep. My apologies to Michael Stipe.
Only four cuts feature vocals, one of which I still am trying to understand after 100 plays. But don’t mistake this for a slow trigger finger.
Smith knows just when to fire. And by “Loud Places,” he takes his shot.
This cut launches itself after 20 summat minutes of build up, reaching straight-up majectic heights with Romy Madley Croft’s voice backed with a choir and shimmering instrumentation. I expect rainbows to shoot out of my speakers.
Moreover, “Loud Places” is Jamie xx urging the listener to dance the pain away. To turn tragedy into beauty.
Smith then capitalizes on his marksmanship by following-up with “I Know There’s Gonna Be (Good Times),” which lies somewhere in between rap, reggae and electronic. But whatever genre-bending magic involved, it kicks ass.
Smith’s music senses sharpen throughout his debut. He just accelerates from “Gosh” to “Girl.”
But by the end of the album, he makes it clear that he is drinking in whatever sense or style quenches his thirst.
And if anything, that should make us thirsty for more.
Producer(s): Four Tet, Jamie xx
- “Sleep Sound”
- “Just Saying”
- “Stanger In A Room”
- “Hold Tight”
- “Loud Places”
- “I Know There’s Gonna Be (Good Times)”
- “The Rest Is Noise”