The xx – I See You
To say that these brits have made a mistake in abandoning their minimalism only gets it half right. Sure, Jamie xx layers sounds more densely here, but what made the group’s past releases so electrifying was the way in which they stripped so much away while still preserving a sensuous, human vitality. On this record, Sim and Croft are rarely afforded the opportunity to undulate in unison, instead belting at each other in such a bottled manner that a Hall and Oates sample steals the spotlight on one track. Add hackneyed metaphors into the mix (e.g. “Performance”, “Replica”), and the result begins to feel a lot like a staid take on generic downtempo that trades out their previous formula of sonic asceticism and emotional depth for its inverse.
Gorillaz – Humanz
Gimmick though it was, Damon Albarn’s “virtual band” shtick was at least an identity, its cartoon logic lending the Gorillaz catalog a sense of cohesiveness while absolving Albarn of pesky burdens like signifying. No wonder then that in its absence, this feels rote, anonymous, and ultimately meaningless. The overabundance of features is no compensation either – at least DJ Khaled knows how to have fun.
Lorde – Melodrama
Lorde’s husky, half-whispered voice lends itself well to these nocturnal, occasionally soporific, synth-washed cuts and allows her to do resentment, contempt, and schadenfreude quite well on this breakup chronicle. But when twenty minutes go by without her daring to show any blatant anger or aggression, her vocal restraint begins to feel like a conceit, as if she’s afraid of facing her own emotions. (It’s hard not to read the lines “Bet you wanna rip my heart out … I like that” as defensive projection.) Thankfully, Lorde treats her attitude to subsequent flings less obliquely. “Let’s kiss and then take off our clothes”; how’s that for honesty?