#187: In Colour

Ranking The 250 Greatest Albums of the 21st Century So Far (2025)

Jamie xx, 2015

There are some albums that just hit you like a tom, and the effect is so immediate you’re not sure what to do next except keep listening to it. With some albums, this effect dissipates within a few listens, and you’re on to something else - you are reminded of another album or artist, or you just have something better to do. In other cases, however, this effect does not dissipate on its own. You have to force yourself to listen to something else, or nothing at all, or you might keep an album on repeat for days and days and days.

A few years ago my aging body decided that I had ignored it long enough and I strained my back quite significantly. I was laid up for several days where the only thing I could do was lay down and wait for my back to let me move again (and for the muscle relaxants to kick in). In my pursuit of staving off boredom while simultaneously ignoring the pain, I found a documentary called 808, about the Roland TR-808 drum machine, possibly the most famous drum machine of the 80s despite only 12,000 being made and production halting after only three years. The songs that are closely associated with the 808 drum machine are as famous as any song you can think of: “Another Day in Paradise,” “Sexual Healing,” “Planet Rock,” and even “Yeah!” from Usher. After a long-ish introduction, the title screen started up with the most thrilling song I had heard yet - thanks to the closed captioning on the screen, I learned that this tune was “Gosh” by Jamie xx, a song and artist I had not heard of, but I was enthralled. I stopped the movie and listened to the album, in full, before restarting the documentary. (The documentary was extremely informative and entertaining and I highly recommend it).

After that, I spent the next few days listening to In Colour on repeat, as I had nothing but time. It only got better with each listen, fortunately, and it has since become a staple in my collection. Jamie xx is part of the British indie band The xx, with other members Oliver Sim and Romy Madley Croft, both of whom are featured on a couple of tracks here. But where The xx is lo-fi indie pop, Jamie xx is house music and quite distinct from his other gig. “Gosh” starts out with said drum machine and and a few “oh my gosh”es before a synth line appears about 2 and half minutes in; it’s a dramatic effect, and this uptempo dance music with an indie vibe. Track 2, “Sleep Sound,” is excellent, a little less dramatic, before “SeeSaw,” featuring Romy, brings up the tempo again.

“Obvs” is a fantastic track that starts with a steel drum-like sound and carries it throughout. By now, I realized that this album just continually builds, each track progressing from the last, containing new sounds and effects but also in scope, and energy. Jamie xx is creating a dj set with this album, playing off the crowd and building the energy with each track. “Just Saying” is a short interlude before the next section of the album begins with “Stranger in a Room,” featuring his other xx bandmate Oliver Sim. It’s a good track, with nervous energy throughout, Sim’s understated vocals contributing to the anticipation.

The seventh track is “Hold Tight,” and the album is moving into a new phase. The low bass and drumline beneath a restrained opening synth melody kicks into a rhythm straight out of rave culture, complete with crowd noise in the background. Next is “Loud Places,” the second track featuring Romy. It’s another vocal track and the return is to address the listener, by now no doubt dancing (for me, the first time I heard this, it was only in my mind, as my back was adamant). It’s a lovely track, equal parts Florence & The Machine and Portishead.

A clear party track is next, “I Know There’s Gonna Be (Good Times)” featuring Young Thug and Popcaan. This is the first peak of the album, and the build up over the previous eight tracks has paid off - if this track was the opening song, or anywhere else in the tracklist, it would not have been as effective. It’s an interesting mix, with Jamie xx’s underground production alongside American heavyweight rapper Young Thug and Jamaican Popcaan. This is the mainstream moment of the album, sounding like a radio track, which is quite a bit different than the rest of the album. It’s like the rest of the tracks are just below the surface, and this track pops up to take a breath before submerging again.

The last two tracks are the result of that shift, and, I felt, the culmination of the album. Jamie xx saves his best for last, with “The Rest is Noise” and “Girl” taking the listener deeper than before - these tracks are more intense, and require a closer listen, than the previous tracks. They’re another example of Jamie xx’s ability to create a set, building the energy and momentum throughout to get to this point. The album tracklist is quite specific, and couldn’t be organized differently, in my opinion. Listening to the tracks in isolation are a different experience than listening to them in the intended order; they’re all great tracks, but listening to this album straight through in album order is rewarding.

This is a fantastic album and one of my favourites of the last ten years. I repeatedly play this is the car while driving my kids around (my oldest’s favourite is “The Rest is Noise,” as it features a siren effect toward the end that can be deceiving for the driver but immediately appealing for a toddler. It’s stayed with him through the years since). It’s a great listen at any point, for any mood. Jamie xx created something special here, and I have to consciously switch up the album after a while, as I will often get lost in its sounds and grooves for days at a time.