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Breaking out as one-quarter (later, one-third) of the indie-electronic band the xx, Jamie xx has become one of the most interesting and challenging producers in all of music. His remixes of contemporary classics, like Adele's "Rolling in the Deep" and Florence + the Machine's "You Got the Love," have proven to be smashes, gaining him a devoted following online and in the music press. Everything he touches seems to turn to gold, and with a debut solo album set to be released, the unassuming Londoner born Jamie Smith looks to reach entirely new heights.
A real landmark moment for Jamie xx came with the release of his Gil Scott-Heron remix album, We're New Here. Showcasing a greater incorporation of hip-hop and being much more aggressive than any material released with the xx, We're New Here maintained Scott-Heron's vision while giving it an electronic supercharge. And the result was something magical; that album opened Jamie (and the xx) to an entirely new audience, quickly becoming in-demand with the likes of Drake, Alicia Keys, Rihanna, and Radiohead—and all before the age of 25.
Jamie xx has survived trends by creating his own brand of electronic music; many have attempted to imitate, but all have failed. His sound encompasses a multitude of genres, such as hip-hop, indie-rock, garage, and grime, to create something aggressively unique that is continually evolving. In celebration of his upcoming debut album, In Colour (out June 1 via Young Turks), Complex lists 10 Jamie xx productions that prove he is one of best beat wizards around.
Sam Moore is a writer for Complex UK. Follow him @Sam_Moore95.
The xx "Intro" (2009)
Album: xx
Label: Young Turks
For many people, this was their aptly named introduction to the minimalistic trio from London. And what an intro, it was. Completely wordless and accompanied only by a simple but hypnotic guitar riff, and keyboards that would become the group's trademark, "Intro" is small and quiet yet still grand and epic. A favorite among commercial directors and TV music coordinators, this track acted as the template for the xx's signature style—taking their trip-hop style into a more ghoulish place than Massive Attack ever could. Their moody minimalism has had a profound effect on the last five years of music, and it all started here.
The xx "Islands" (2009)
Album: xx
Label: Young Turks
As mainstream as the xx's sound ever got (reflected by the way it charted), "Islands" is defined by its indie-rock sensibilities and Tom Petty sample. Through the haunting synths and Romy's now-instantly recognizable vocals, the track is elevated to something much more profound and thought-provoking; ominous and occupied with thoughts of doom, the most famous in the xx's cannon is also one of their most emotionally curious. The characters of the song could be in love, but the drastic lyricism also makes them sound like captor and prisoner—a level of fatalism that's not usually found in indie-electronic bands.
The xx "Crystalised" (2009)
Album: xx
Label: Young Turks
Jamie xx knows what he and his band's aesthetic is, and "Crystalised" may be the best representation of that. It has all the typical xx ingredients, with the scant guitar, muted singing, and a piano-driven medley, and is all about form and space in the same way Nine Inch Nails and Interpol were at their best. The sounds reverberate off each other, everything fits into its own little pocket, and none of it should sound as good as it does.
Florence and the Machine "You've Got the Love (Jamie xx Rework)" (2009)
Album: N/A
Label: Universal Island
The only bits from Florence and the Machine's take on the Source and Candi Staton's '80s dance classic are the redhead's powerful voice and the unforgettable harp, meaning Jamie xx created an almost entirely original song. We're eased into the remix through a solo version of the harp, before the track is completely ripped up to barely resemble the original. Taking its cue from grime and D&B, Jamie creates a boy/girl back-and-forth and if you were unaware of the origins of this song, you'd simply think it was an xx tune featuring Florence. Now, this is how you put a fresh stamp on an overplayed classic.
Gil Scott-Heron and Jamie xx "NY Is Killing Me" (2010)
Album: We're New Here
Label: Young Turks
Urban suffering—a topic associated with Gil Scott-Heron throughout his entire life—is forced into the present here, in the form of a relentless booming hip-hop beat that wouldn't sound out of place on Watch the Throne. None of the poignancy of oppression is lost in electronic translation, as the track is quintessentially Heron but with a young man's twist; a twist made of thundering bass, scattering hi-hats, and an unforgettable screaming sample. "NY Is Killing Me" seems to grow and expand the longer it goes on, something that magnifies the pain of the song and turns it into something ethereal. Despite New York being the main focus, there is a something universal about the track—it resonates the world over and becomes an anthem for urban strife wherever you are.
Gil Scott-Heron and Jamie xx "I'll Take Care of U" (2011)
Album: We're New Here
Label: Young Turks
Better known as the sample from Drake and Rihanna's hook-up on "Take Care," said stars owe quite a bit of thanks to the unassuming Englishman for their worldwide hit. Jamie's remix of Gil Scott-Heron's classic cover is the standout track from We're New Here and, like the rest of the album, was born out of the ashes of dubstep. The result is something sparse yet euphoric, undefinable yet familiar—but it's still completely unique.
"I'll Take Care of U" is the final track on the album, and it completely revolutionizes Scott-Heron's gruff voice. Jamie xx takes things synonymous with his band—piano minimalism and existential worry—and then splices them with Scott-Heron's heartbreak to make it one of the set's finest moments.
Gil Scott-Heron and Jamie xx "Running" (2011)
Album: We're New Here
Label: Young Turks
An avalanche of sounds cascade around Heron's speaking voice as he poeticizes about running away from something abstract. Himself? A woman? A foe? We don't know, but what a piece it is. A sliced and diced sample is the hook, so simple yet entirely intoxicating that it injects some urgency into a track that's otherwise occupied with the moment and seemingly not ready to run anywhere. Like the best tracks on We're New Here, hip-hop is at the core of "Running," and the beat is one you'd expect someone like Kanye West or Drake to rap over. The tension is arresting—stripping the beat down while Scott-Heron's talking gives it a storytelling sensibility—while the explosions of noise create something inherently cinematic.
The xx "Angels" (2012)
Album: Coexist
Label: Young Turks
The second xx album had a lot of hype to live up to, but Jamie and crew ensured there need be no worries after the release of first single, "Angels." It starts in the way you’d expect an xx song to start: soft keys, a barely-there guitar, and the intimate vocals of Romy. But then, a little over a minute in, new sounds appear in the background; the hint of percussion here, the pounding drum there. "Angels" is an inviting and friendly tune—two attributes not commonly associated with the band. But the song wants to engage with you and is a showcase for Jamie's fast-evolving producing abilities.
The xx "Tides" (2012)
Album: Coexist
Label: Young Turks
With all the grandeur and majesty of a 7-minute Led Zeppelin epic, "Tides" is a unique xx song that starts with Romy and Oliver Sim's vocals competing with each other before flirting with industrial rock. This is one of Jamie's most sophisticated and polished productions to date, with vocals so crisp they'd sound perfect on Poundland earphones. "Tides" also features an xx rarity: violins. They're gone almost as soon as they arrive, but still, they emphasize a permanently changing pallet for Jamie as his vision becomes something much more complex as time has gone on.
Jamie xx f/ Romy "Loud Places" (2015)
Album: In Colour
Label: Young Turks
The latest single from Jamie xx's highly anticipated In Colour LP, "Loud Places" is a wonder and a hybrid of vintage xx and contemporary dance. With fellow xx member Romy on vocal duties, her soft, breathy voice takes you back to when you first heard the band as she whispers sweet melancholy into your ears. It's a lonely song, most emphatic in its silences, and typical of the producer by this point.
While Jamie xx has mostly resisted building a song to crescendo, often leaving the listener in permanent gloom, on "Loud Places," he gives hope in the form of gospel claps and big drums, a rousing move that ends the track on an upbeat note. The genius of the song lay in Romy's vocals though; Jamie always manages to get the best delivery out of her.