For awhile it seemed like all of the new hyped "indie" bands were just boring nonsense like Sweep the Leg Johnny and Les Savy Fav, so I lost interest in whatever hot new band was being jocked, retreating to the warm glow of my Can and Neil Young records.
In this "biz" it's easy to become overwhelmed by the hype. And I know it seems pretty closed-minded of me to ignore so much stuff, but following independent music can burn you out quickly. But just a few months ago I decided that this was the wrong attitude (especially for someone who runs a label), so I made a commitment to stop being dismissive and start checking out new things that I had read about. This path led to records by the Shins and Pinback and Clinic and the new Notwist album, all of which are good (if not great) records.
So when I first heard about Xiu Xiu, from California, my curiosity was not only aroused but ignited. The first emails I read discussing this band described them as "a Talk Talk record left out in the rain" or some other such malarkey. Now, being the huge Talk Talk fan I am, I immediately ordered a copy of the LP from Absolutely Kosher, which was promised to come with a special poster.
Cory from Absolutely Kosher, bless his heart, sent the LP media mail, so it didn't come for 11 days. And when it did come I was in New England, visiting a friend. However, I was able to coerce said friend into buying the LP while I was visting.
And my first impression was not of immediate excitement nor of disgust; it was a rather perplexed feeling, unsure how I felt about what I was hearing. Because for every stupid description like "The Smiths holding a rave in a sewer," you can write a million more like "Siouxsie and the Banshees playing jai-alai with Mark Stewart in Morocco" or whatever. It's an eclectic record and not one that is going to gel with a first listen. There are some immediately exciting parts, but also some awkward, over-affected vocals. My friend and I both decided that we were not ready to give it a thumbs up or a thumbs down until repeated listens.
But when I got home, anxious to give Knife Play spin #2, I found that the media mail shipping method had resulted in a very damaged box, bent almost in half. That, and the fact that the newsprint "poster" is the only packaging besides the LP itself, led to an unplayably warped record. Let this be a lesson to all would-be record labels: Never package a record in only a piece of newsprint.
With determination, I placed the record between two heavy books, and placed the books on top of my radiator. I turned the heat up, went to get some pizza with my pals, and came back to find a much less warped record. While it's still not perfect, it was playable without any noticeable distortion.
But the second listen didn't impress me either. I vacillated, and continue to vacillate, on Xiu Xiu, For example, the album starts with a great song that uses clattery percussion and distorted synth to create a truly dark, fragmented composition. But "I Broke Up," the second song, balances clever synthesized chaos with some of the worst attempts at provocative vocals I've ever heard.
I don't know if the singer is attempting some sort of postmodern commentary or doing a character study of a fractured psyche, but the screams of "DON'T FUCK WITH ME!" come across as little more than Marilyn Manson-inspired posturing.
The voice that dominates this record is the most difficult thing to adjust to. Mark Hollis he is not; instead the affect makes it sound more like a weird cross between Morrissey and Scott Walker. And while Scott Walker is a brilliant musician who is rarely referenced in popular music, I have an aversion to all things Morrissey.
I'm sure that all of these Talk Talk comparisons are only because it is music that utilizes studio recording to incorporate a variety of electroacoustic improvisations into an emotional patchwork; there are a lot of interesting textures here, though the drum machine programming takes away the organic, breathing quality that makes "Spirit of Eden" so remarkable. But these comparisons are almost too easy; Xiu Xiu is a different beast indeed.
But as textures go, there are some great, great ideas on this album. "Anne Dong," the first song on side two, is a nightmarish crawl through a pit of molasses where the voice is dragged down into the murk, and it works as an effective mood piece. The sounds are pretty unidentifiable, at least in terms of "instruments," though they have a heavily processed feel to them.
The more dance-oriented element of a few pieces, such as "Over Over," remind me more of lesser Talk Talk-influenced bands like Bark Psychosis or Radiohead. But at the same time, they remind me of Jesus Jones. It's a weird dichotomy that I find hard to reconcile.
Structurally, a few songs fall into slow chord progressions which create a dirgy, melodramatic feel—"Suha" chief among these—the more intimate side of Xiu Xiu isn't warm enough to allow any empathy, but yet is more coherent than the faster pieces. The final track, "Tonite and Today," is a piano ballad that is the only point of the album where the vocalist shows any hint of subtlety with phrasing. Still, I get the feeling that he has nothing to say.
I have listened to this album over ten times in the past three days. Something about me will not let it be dismissed; I want to like this record, but I am not sure if I can. If my uncertainty is properly conveyed in this "review" then I will be happy. Xiu Xiu seemed poised to declare themselves the new heroes of art-rock in America, but I am not sure they are worthy. But if not them, then who else? It is a deeply flawed record, but at the same time very original, brilliantly so in points. And there are many great, but flawed works of art that I still love, sometimes especially the flaws. If they can somehow jettison their touchstones and all of the baggage that goes with it, then they may really achieve something great. I just hope the next one is packaged in more than newsprint.
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