If you’re expecting a traditional electronic album with deep thrashing bass and lyrics talking about “poppin’ molly” from Jamie xx’s debut solo album, then you’re in for a surprise, and a damned good one at that. Producer Jamie Smith, best known as part of The xx (a band that I believe is extremely underappreciated), has been rumored to be working on a solo project for some time now. However, it wasn’t until he released his debut single “Far Nearer” that we understood the necessity of a solo project. Well, now it’s here, and it was well worth the 5-year wait.
The xx thrived on how close minimalism can bring you to perfection. That’s what their debut album was, a collection of perfect pop songs the showed the restraint that the group can practice when songwriting. Naturally, Jamie xx brings that restraint to his solo project, which matches his work with the xx, if not surpasses it. Despite the similar minimalist styles of In Colour and the xx, that’s where the line connecting the two projects ends. The reason Jamie xx surpasses his work on The xx is not because he replicates it. In fact, it’s because he diverts away from it that it works. He takes risks with the project, similar risks that Twenty One Pilots took with Blurryface. However, instead of a genre-bending sound, he bends the time period that the album homages to, instead.
Essentially In Colour is an album that doesn’t adhere to the guidelines of a particular era. In fact, Smith has even said:
There’s some classic tracks that are classic because they are of an era, but I like trying to make things classic because you can listen to them at any time, and they could be from any time.
That also explains what makes the album all the more impressive. Behind the minimalism of the album, is a blast of color that hits you, grabs you, and doesn’t let you go until the last track plays. Hidden within each song is an impressive build of loops that introduce a new element, then repeat it until it builds into a gorgeously produced track that, essentially, builds on the previous one. Then, the unifying theme of the London club scene takes the build that the track set in place and creates a narrative that emotionally ebbs and flows with the music.
Despite the incredibly high opening and closing to the album, it’s the run of songs starting with “SeeSaw” and ending with “I Know There’s Gonna Be” that makes this album one of the best albums of the year, and maybe even the decade. That’s where you truly realize what a genius in production that Jamie xx is. There’s so much depth to his music that you can dive into it head first and get lost.
“Obvs,“ which is one of the few steel drum tracks in Smith’s repertoire, breathes with a deep bass line that supports the soft hums and repeated melody of the steel drum loop. With “I Know There’s Gonna Be,“ another steel drum track, Smith proves that the minimalistic approach to music can defy genres. The album brings together three very different artists from three very different genres. At the base is Smith’s minimalist track, which is further enhanced by Jamaican dancehall vocalist Popcaan’s sample-like hook. Then Young Thug supply’s a sing-songy, pop rap that just exudes the joy when all inhibitions are released and you let music flow over you.
Where the album soars is Smith collaborations with his bandmates. The tracks supply the framework for the album. They outline the desolation that one feels in the club scene. “SeeSaw” features Romy Croft as a victim to the viciousness of relationships in a club, while “Stranger in the Room” discusses the stripped identity.
The album’s high point comes in the song “Loud Places,” which was done in collaboration with his xx bandmates. The song is truly the triumph of the album. It’s a soaring anthem of the desperation of our generation to constantly have stimulation. Romy, whose voice stands out beautifully on the track, sings “I go to loud places/to search for someone/to be quiet with/who will take me home.” The song outlines the constant struggle between introversion and extroversion. Society appreciates the latter, while many desire the former. With the slow build of loops eventually ending with an incredible chant that is broken by the heartbreaking final lyric, the track proves itself to be the best of the album.
What you take from In Colour is up to you. Do you take it at face value of a well-constructed dance record? Or, perhaps, you delved deeper and saw a producer’s paradise? Some people will connect to the narrative of it all, while others will completely ignore it and let the music wash over you. When you appreciate all these elements, you get what I see: the best album of the year and perhaps the decade.
In Colour is available on CD, vinyl, and digital download on Amazon!
Hey, I'm Karl, founder and film critic at Smash Cut. I started Smash Cut in 2014 to share my love of movies and give a perspective I haven't yet seen represented. I'm also an editor at The New York Times, a Rotten Tomatoes-approved critic, and a member of the Online Film Critics Society.
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