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No matter how you frame it, January is widely regarded as a bit of a bummer. Whether it’s because of the Christmas comedown, the horribly cold weather or the lack of funds in the bank account, the first month of the year has a reputation for being just the worst. So what better time for The xx – who are renowned for their melancholic, downbeat soundscapes – to release their comeback album, I See You, after a five-year absence?

On the face of it, the London trio’s return certainly seems like it’s been perfectly scheduled. Ever since their self-titled debut album propelled them into the spotlight by claiming the 2009 Mercury Prize, The xx have been pigeonholed as being dark and moody due to their distinctive skeletal sound and wardrobe of endless black garments, with their equally minimalist 2012 follow-up, Coexist, doing little to shake off those labels.

Reticence is The xx's best friend on xx. In their spacious, r&b-leaning debut, they use the lack of sound as skillfully as anyone before or after them. Ten years later, xx is a blueprint for many of todays' pop and r&b artists (Banks, The Weeknd, Wet) but unlike many who have tried to copy this sound, the xx were also able to make the most out. The top 10 sites for you to download full albums free have been provided in this article. All the websites are safe and reliable. Keep reading and get free full album downloads in a breeze. Intro (XX Booty Mix) Song Download- Listen Intro (XX Booty Mix) MP3 song online, free. Play Intro (XX Booty Mix) album song MP3 by Sander Van Doorn and download Intro (XX. Download www.NewAlbumReleases.netBrianCulbertson-XX(2020).rar fast and secure.

In reality, The xx have never been quite as depressing as some have made them out to be, with this view largely the result of their difficult relationship with fame. Romy Madley Croft, Oliver Sim and Jamie Smith were reluctant to embrace centre stage in the early days, but as the years have passed they have gradually become more comfortable in their own skin and this newfound confidence is there for all to see on their third LP.

Unsurprisingly, there is a clear influence from Smith’s 2015 solo project In Colour (released under his performance name of Jamie xx), but I See You also sees his bandmates up their game significantly. From the very first euphoric burst of synthetic horns on opener Dangerous, it is almost impossible to miss the added conviction that embodies the record throughout its compact 40-minute runtime.

Perhaps even more impressive, though, is the sense of playfulness – something which is aptly demonstrated by I See You’s title and colourful album artwork. Lead single On Hold provided an early glimpse of this. It signalled what we could expect from the band’s latest incarnation, balancing the hushed tones and crisp guitar work they are often celebrated for with a tweaked sample of Hall and Oates’ I Can’t Go For That (No Can Do).

The sample, in particular, was a complete curveball that transformed what could have been another typically stripped back offering from the trio into something close to a club classic. This is by no means a one-off on I See You, either, with Say Something Loving another example of The xx embracing a more technicolor approach thanks to its luscious, heartwarming synths and Smith’s ingenious use of Do You Feel It? by the Alessi Brothers.

Elsewhere, the more direct I Dare You utilises a straightforward clapped beat and the combined vocal harmonies of Madley Croft and Sims to marvelous effect as they sing about infatuation (“I’ve been a romantic for so long/ all I’ve ever had are love songs”), while both Replica and Lips make use of far more tropical rhythms. In fact, the latter is further evidence of the impact Smith’s vibrant solo record has had on I See You.

Even the band have acknowledged the prominent role In Colour played in the creation of their latest release. Yet for all the talk of Smith’s Mercury Prize-nominated album, I See You is undoubtedly a team effort. This is underlined by one of the album’s standout tracks, Performance, which is a fragile and beautifully intricate examination of the crippling self-doubt that has previously dogged The xx.

“You’ll see me hurting/ when my heart breaks/ I’ll put on a performance/ I’ll put on a brave face,” sings Madley Croft with her mesmerising and tender vocals. She is equally compelling on Brave For You, where she addresses her parents’ deaths, before Test Me concludes the LP with an eerie ode to the band’s own past troubles over a sparse piano melody – a poignant reminder of how sometimes less is more when it comes to The xx.

Nobody recognises this point more than the band themselves, which is why I See You is such an overwhelming success. “It’s basically us understanding each other better,” says Smith, and he is right. The xx have taken in all the experiences and lessons they have learned since their breakthrough and come up with their most adventurous and quietly uplifting release to date. It’s so good, it may even banish those January blues.

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Heart Skipped a Beat
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Basic Space
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Night Time
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The XX: a new name in the music world

That’s a mystery what The XX members meant when they called their band this way? It is hardly likely that we will get an answer in a clear form for the majority of musicians prefer to keep communication with the audience through their music and lyrics. Well, it took us four years to wait till The XX released their debut long player after their assembled, which finally made us able to see what the band is like and what the members want to give us. The group followed the old and good tradition and give the album its own name, yet, for the sake of originality, dropped The. It is cleat that any performer’s first full-length record is far more than just a collection of songs recorded in a studio and issued by a label. It’s a kind of greeting referred to the potential listeners, an artist’s introductory word. The debut studio work helps its maker meet the audience and it’s not the case when the first impression is deceptive, yet it’s a situation when the first impression is lasting. Should the young performer stumble while making the first step, his or her further career may fall under a big question. Seems like the members of The XX took this aspect into consideration and thus delivered an awesome album showing their best side.

The XX album’s astonishing atmosphere

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It is before the last song of XX when you might easily fall into forgetfulness and believe you’re in catholic cathedral or in a remote mansion, of course, deep in the woods and late at night. Words are weak to explain this because an atmosphere like that is not what you expect from an indie-rock piece, yet this one is produced so that the sensation of solitude and isolation is about to stay with you during all the fifty minutes that the album lasts. Since we touched upon the production, it is essential to say that these functions were taken up by the musicians themselves, which would give them credits as the work is done perfectly. You might take for example the guitar arrangements having echo-like effect, which strengthens your feeling of standing right under the dome of the temple. Praise should be given to the vocalists, Oliver Sim and Romy Croft, whose vocal parts substitute each other in such a manner that we become unwillingly (yet to our gladness) witnesses of a tell-tale conversation between two dramatic personages. The classic instrumental Intro is followed by the first vocal track VCR shaping up the mood of the rest of the record. Among the other compositions, you are likely to notice the single Crystallized drowning you into the chill of the England morning. The guitars in Infinite stubbornly remind you (but not copy!) those of Chris Isaac’s glorious Wicked Games. Musically simple Basic Space built upon the electronic beats crashes into your memory thank to the singing of both vocalists. Finally, you will like Shelter with its trip-hop rhythmic structure perfectly matching the singing of Romy who demonstrates all her talent here.

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Debut of the year?

So, if you decide to have at least one of the 2009 year’s best efforts, you should not hesitate to get XX. Its makers, The XX, seem real masters of atmosphere. If you entrust them with your mood, it would take them less than an hour to bring you to a different amazing world. It’s hardly heard during rush-hours in a city running crazy. It is hardly seen in the flux of people, information and thoughts with everything subtle, gentle and untraceable unnoticeable. Yet this world gains its vivid shapes at nighttime when everything that sounds is silence. Skilful in controlling your emotions, the musicians do not resort to sophisticated music patterns, but they endow each instrument with its own soul and voice. Everything here is a part of harmonic combination and recorded so professionally that it makes you feel like the music sounds deep inside of you. If you’re driving a car outside the town towards the setting sun; or if you’re roaming down the desert street at an early morning hour; and finally, if you’re still sitting at the computer at a late night time, when music is the escape, then XX is your choice. It is usual that we forgive many mistakes made by beginning musicians and do not judge their debut efforts severely. But even if you do want to find faults with The XX’s first album, you have to work really hard. These guys know so well what the listener wants and how it should be served that you might easily believe that this is not at all their debut world. What is left to do is to hope that The XX discography will be regularly enlarged with albums of the same unsurpassed quality of XX.

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