The Weekly Coos

Though it’s been nine years since Jamie xx’s last album, In Colour, that isn’t to say he has been all quiet, producing here and there; however, that spark he gave us with In Colour is missing from In Waves, quelling some hunger with it’s more tepid ride in the middle of the album. He’s trying something different with some tracks, but much has too linear of a throughline. It sounds like he wants to emulate what feels more like a cohesive mix that fits the parameters of house, techno, and garage-driven party while retaining an artistic identity instead of running by motions for a level-headed flow. Unfortunately, that isn’t to say there aren’t moments that play it safe, like the breakbeat elements of “Treat Each Other Right” compared to the vibrant and gripping “Baddy On The Floor,” where the funkiness in the garage base adds new definition to the track, pushing it above the rest. Honey Dijon helps in elevating it with her vocal performance. It still feels more of the same but with a club atmosphere, that’s just as powerful. It doesn’t have the creative vibrancy of In Colour, opting to be reflective from various angles, and to a fault.

In Waves is more like In Vibes because it gets you into a significant high from the opening track onward where his directional mix becomes more fluid without creating the transitions. It makes the listening experience more enthralling even when you get a tepid middle on the production side; in turn, it leaves you feeling slightly wanting, as if knowing there is an extra layer Jamie xx can explore but doesn’t. However, that doesn’t create a pure down trot of weakness, as they feel more empty and forgettable even when the many highs try to make you forget they somewhat existed, like “Life” with Robyn, which is underwhelming with its safer EDM conforming too much instead of being something more unique like the House-Garage melodic hybrid of “Waited All Night,” since it plays more with the vocals than the other. “Waited All Night” is a reunion for The xx, if not official, but it offers something balanced before eventually hitting a more tepid middle. Like how from “Still Summer” to “Breather,” it’s mildly streamlined, assimilating the production, and though they aren’t a step-down, they don’t have the gravitas like others, despite liking the latter.

Much of the highs of In Waves come from the collaborations, especially since they bring a sense of energy to the conciseness of some beats. Though that isn’t to say it’s all produced by Jamie xx, with collaborations emanating from other producers who sing, giving a better synergy for the outcome that you get from the two, like the fantastic Honey Dijon collaboration “Baddy On the Floor,” or the Avalanche influenced-collaboration with “All You Children.” It’s an unwavering rollercoaster elevated through sheer will to captivate the ears. It’s a nice balance to the solo work that isn’t as focused, though that isn’t a pushback against its quality; the synths add a smooth overlay to some of the safer percussion notes that don’t much to sway the flow of the music. Though I am modestly positive about the album, I’m similarly tepid. Much of that emanates from these solo works that don’t carry with them enough vibrancy to captivate like much of the featured tracks. Those bring more energy and a sense of being, even when a track like “Waited All Night,” the vocals elevate it further, specifically as it takes the strengths of all three talents beyond The xx, elevating it past the mild club pop production.

It’s not hearsay to admit that I thought In Colour was a superior album; more so because of the moments Jamie xx delivers more of his voice through sound. It’s more creative and follows unique throughlines. The featured tracks come with unique tinges, similar to what we get with In Waves; however, instead of trying to elevate the craft further, his new direction feels like it’s taking a step back, specifically with the percussion notes. That isn’t to say In Waves is bad, it just feels inferior especially when it feels like it wants to tread vibes instead of being authentically himself. It’s an introspective project, more so than In Colour and that’s a major plus, especially when you can hear those tones in the depth he brings with the production, like the bright and funky “Dafodil,” which feels more intuitive than the more direct 90-00s House influenced “Treat Each Other Right,” except it doesn’t have that sizzle. It’s unfortunate, especially when one has been awaiting a follow-up for years. But when you have an intro and closer as fantastic as this album has, there is no denying you will get something from it.

Though I’ve felt up and down with In Waves, I can’t tell you I don’t recommend it, especially with the gap in albums. A change is heard; it’s a welcomed change, but I feel he doesn’t explore it enough, keeping most light and direct. It makes the music ingestible while feeling the groove and hearing what Jamie xx wants us to hear, even when it takes a mild pivot. It’s recommendable more so than it just being a new release after a long gap, but more so, it’s some of the unique ideas that come into the fray that give it a sense of purpose and being; more so than just the surface layer facts that could entice any fan.