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The XX

“It’s a bit embarrassing I probably shouldn’t be saying this but we didn’t know the original,” says Oliver Sim, lead singer of The XX from his London pad. I’d just asked him about the cover of a song they did of – œ80s hubby and wife soul duo Womack and Womack.

There isn’t hint of pretentiousness coming through the earpiece talking to this young Londoner. “Actually we knew it from a garage remix that was big in like 1998,” he cringes.

Apart from an affinity with covering soulful slow burners to hip hop songs, they’re a band who won’t have to rely on the trendy indie knack for ironically reanimating – œ80s hits. The XX seem to have quickly catapulted themselves into the minds of bloggers worldwide, from new wave hipsters to dorks like myself. Their music seems to tip toe through a plethora of influences, with a sound that is spacey, delicate and definitely suited to extended 3am listening seshes. It wasn’t going to be easy making sure my outright obsession for this band stayed safely tucked away from my gushing tongue.

“Thank you so much, it’s so great that we have fans in Australia”, Sim staggers. “It actually looks like we’ll be making it to Australia late this year or early 2010.” Before that happens though, the band has a schedule that includes tours with Florence and The Machine, Friendly Fires and School of Seven Bells, plus their very own headline shows in London.

“Yeah it’s a bit crazy looking at [the calendar],” the frontman agrees. “It still kind of feels like London is just getting to know us! We’re so excited to go to America for the first time later this year though.” This openly enthusiastic yet polite 19-year-old tells me that he’s never really been many places. “All our friends have been travelling after school but we’ve just been so busy playing and recording that we are sort of only getting to it now.”

You can easily forget that these guys are kids just outta school. No ordinary school either – The Elliot School in south-west London, whose musical alumni includes Hot Chip, Burial and Four Tet. It was much earlier than high school that The XX’s musical paths were mapped out, with Oliver and fellow band member Romy Madley Croft meeting in kindergarten. “We’ve known each other since we were about three-years-old,” he laughs. “She’s like my sister in a way.”

Sim muses on how The XX’s kindred voices are complimented by signature drum machine crackles and snaps. “I suppose you could say a lot of the songs have that spaced out vibe about them. I mean, we didn’t really realise that trait until someone complimented us on it. I guess we’ve made a conscious decision to keep the space and really think about how we fill it.”

Having a producer in the band has helped retain that feel. “Jamie brings his knowledge of production to the table,” Sim elaborates. “He seems to be able to figure out the perfect balance, you know a lot of RnB beats with our obviously dreamy sound.”

The RnB beats Oliver are talking about come from the band’s unashamed love of – œ80s and – œ90s hip hop, soul and RnB. But as he explains, The XX is not a direct result of the band’s musical tastes. “It’s really funny because when I think about it, The XX is an anomaly to the sort of music we listen to. I’m really into – œ90s RnB, Romy’s into disco, Baria’s is quite entrenched in drum – œn bass and Jamie loves electronica and hip hop.”

Since being spotted by the peeps at Young Turks at one of their London gigs, The XX has actually taken the slow road to blog hero status. “They really gave us the freedom to grow,” says Sim. “When we started with them we had about five or six songs and hadn’t played many shows. Everything was just given time to grow naturally. I mean, these songs on the record are all the songs we’ve ever written, from songs we wrote when we were sixteen like VCR and ones we penned six months ago,” he laughs.

The lead singer utters some final words before hanging up. “Who knows, we might be seeing you sooner than later,” he winks down the line.

The XX’s debut album XX is out now through Remote Control.

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sarcasm_mister

sarcasm_mister said this month on Sat 19th

From P4K:

Unveiling material from their forthcoming second album on the final date of a three-night run, the xx performed in front of visuals resembling the inside of a plasma globe, the kind you touch in science lessons to demonstrate the flow of energy through the body. If any band is an expert in the intricacies of bodily contact, it's the xx, whose self-titled debut spent most of its running time shirking the outer world to hide beneath the duvet, staring deep into another's eyes.

Romy Madley Croft, Oliver Sim and Jamie xx's gentle but potent alchemy was one of the calling cards of The xx, a record that seemed so unique and significant that they couldn't (and shouldn't) hope to make it a second time. It's an album that undoubtedly soundtracked a lot of couplings at the time that have perhaps since disintegrated, a theme present in all of the new songs performed tonight bar one. But if there's been breakdowns in relationships, the band's sound has become fuller and more intricate in the process, most notably taking on elements of the style that Jamie xx has been honing with his solo work over the past couple of years-- and a palpable confidence. No one hid behind gallons of dry ice this evening.

"We're playing quite a lot of new songs-- I hope that's okay," Romy offered as a disclaimer to anyone who'd come expecting a greatest hits set. It was definitely okay. "This has been our first week of shows in almost two years, so you might have to bear with us!" said Oliver. Prior to the set's penultimate song, he called for the lights to be brought up so that he could take a photo of the crowd and the beautiful venue. The Battersea Arts Centre in south London is a grand former town hall that stands on the same street as the pub in which the band played their second-ever gig, when they were 16 years old. They've since lost a member, Baria Qureshi, making the material premiered at this week's shows the first they've written as a three-piece to be heard publicly, other than a demo: "Open Eyes", released on Christmas day 2011.

Creeping on stage in the dark as usual, they open with a brand new song (none of them have titles available yet) featuring Romy on lead vocals. Hooked around a beautiful, languid guitar slide, it's initially not wildly dissimilar to something off of Beach House's Bloom. Then it breaks into militaristic drumming, followed by coy stadium heft. "They will be as in love with you as I am," Romy insists, as Jamie softly jangles a tambourine in the background. "And with words unspoken, the silent devotion/ I know you know what I mean and the end is unknown/ But I think I'm ready as long as you're with me-- being as in love with you as I am".

The song chronicles a relationship based on subtler emotions than those visible near the stage. The arts centre's bar apparently offers full bottles of wine and plastic cups, and the couple in front of me was torn between falling all over each other, drawling "I love you so much, so much" declarations, and screaming through every vocal-less second of "Islands".

Jamie was a dynamic presence at the back, beating his MPC pads with a precision that looked as if he was solving a deeply difficult kinetic problem. He built a beautiful, fragmented structure beneath the next new song, a smoky track in which Romy's vocal tangles around Oliver's noticeably filigreed croon: "Just looking for a vision/ Something of my own creation," "I know your face all too well/ Still I wake up dreaming/ Friction," they smouldered, subtly slipping prickles into soft, comforting rhymes.

After a stinging "Crystalised", they showcased what was arguably the most exciting song of the set: a lengthy, mutating lament about "The way we act like strangers after all that we had," built around undulating bass and a shy, desperately sad steel drum chime that slipped into the most four-to-the-floor, manifestly danceable song they've ever written. Flowing through airy wooden clicks from Jamie, it ends as if catching its breath, a pale drum track fading to mute. "As a friend, it is understood/ We gave it all that we could," sang Romy, a forlorn acceptance of an ending.

"Basic Space" felt eerie and disquieting, the choruses sung boldly and without instrumentation, the middle eight encrusted with a grittier drum machine itch from Jamie. The arts centre's sound did the subtle additions to older songs immense justice, offering a beautiful, intimate tone that felt rare for London.

Romy and Oliver's traded vocals at the start of another new song were obscured like low light calls. Jamie underpinned the slowly revealed sadness of "We used to be closer than this/ Is it something you miss?" with a burning kindling crackle that snapped into bolder, flaming boughs. It was the only new song to feature any of the soft "oh-whoa-whoa"s that meandered through their first LP.

They injected "Shelter" with space, Romy's voice cracking on the final line. She and Oliver shared a grin when they paused during "Infinity" for Jamie to fill the gaps with harsh cymbal crashes and a scraping clang.

They executed a quick, perfunctory stage exit before returning for one last new song: tagged onto a short snippet from their debut, it was a sparse number built around an awkward bass note, echoing clatters, and a slow, almost backpacker-ish rhythm. "Remember the time," Romy and Oliver offered, "I wouldn't leave us alone when we could be so close, close, close." It reflected on a past that was a far cry from the future offered by the set's closing song, "Stars", which promises that the start of a relationship isn't the be-all and end-all.

And that's it: It was an hour-long set nearly to the minute, leaving the room tingling and rubbing shivers off skin as the lights went up.