Musician and DJ Jamie xx might have one of the strangest career trajectories in recent music memory.
James Smith, who goes by the name Jamie xx, is a member of indie pop band The xx. Critics describe him as one of the main contributors to their dreamlike, mellow sound. He forged an unrecognizable solo career, finding a different sound by delving into electronic dance music in 2015 with his album In Colour.
His latest work, In Waves, marks his return to the electronic scene after a nine-year hiatus. He released six singles to promote the album over the past five months, covering half of its tracklist. The end product is a wholly unique and undeniably fun listening experience, but at times it feels inconsistent.
The album’s production is its main attraction. Jamie xx juxtaposes classic soul samples against futuristic and synthesized instruments across many tracks. Combining this tactic with fast-tempo grooves creates some excellent moments.
“Baddy on the Floor” stands out as one of the album’s best songs. It captures a euphoric energy that no other song on the album quite reaches. Its modest, piano-laced buildup transforms into a soulful banger complete with a beat drop full of colorful horns. It feels like a ‘70s funk tune recontextualized as a club song, making it unique from the electronic sounds that define the album.
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“Life” chips away at fast tempos and catchy grooves, creating contrast between its warm horn section and its cool synthesizer breakdown halfway through. “Still Summer” works similarly, with its forward-thinking soundscape lending to an electrifying beat drop.
Despite its mellow approach, “Waited All Night” has an understated yet driving beat, punctuated by a dreamy verse from Romy, one of The xx’s vocalists. Her lush vocals complement the faint and psychedelic feel of the beat, creating an irresistible hook.
The closing song “Falling Together” features downright ethereal production that complements its existential lyrics, “This is a very small stage in a vast cosmic arеna/A little pile of dust suspended in a light-beam struggling for significance/But what’s it about?”
Unfortunately, some production moments feel rather disjointed. “Treat Each Other Right,” the first full song after the extended intro “Wanna,” tries to cram multiple separate ideas into a four-minute space. Even though no individual part is bad, when put together the song feels jarring.
Vocally, the album is a mixed bag. Its sample integration is always cool, often warping the singers’ voices beyond the point of recognition. “All You Children” is the best example of this, slowly morphing a children’s choir into a chopped up synthesizer. However, some samples, like in “Treat Each Other Right,” lack cohesion and feel pasted onto the beat.
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Many songs incorporate spoken-word segments, musing on topics like first love, partying without care and enjoying the moment. Their monotone delivery rarely adds to the song’s favor. It feels like an unnatural accompaniment. “Dafodil” intersperses a soul sample with one of these segments, which feels poorly integrated and is ultimately detracting.
This vocal style does work on “Breather,” however. The track features a monologue with surreal lyrics and a robotic voice that speaks the affirmations, “This is your moment to let go / To do something good with your body, yourself / You deserve to feel good…” It fits well within the context of its dystopian soundscape and transitions nicely to a punchy beat switch.
While not without its gripes, it’s impossible to hate In Waves. It easily cements itself as one of the most off-the-wall moments of 2024. Every idea might not work, but each one is undoubtedly distinct and enthralling.
