Background
Xiu Xiu have previously released cover albums, such as Plays the Music of Twin Peaks and Nina . [5] [6] Beginning in early 2020, Xiu Xiu released content through a subscription titled Xiu Mutha Fuckin' Xiu featuring covers, solo versions of tracks, and stems. [7] [8] Subscribers were able to vote on songs for inclusion in Xiu Mutha Fuckin' Xiu: Vol. 1. [8] Jamie Stewart, the band's frontperson, stated that the project was intended as a way to "say thank you" to the original songs, emphasizing an approach focused on learning from the material rather than reworking it to improve upon it. [9]
Critical reception
Xiu Mutha Fuckin' Xiu: Vol. 1 was received positively by critics upon release. At Metacritic, which assigns a weighted average rating out of 100 to reviews from mainstream critics, Xiu Mutha Fuckin' Xiu: Vol. 1 received a rating of 81 out of 100 based on four critic reviews, indicating "universal acclaim". [13]
In a review for Treble Zine, Wil Lewellyn said the band "[honored] the 12 songs presented" and that their takes "[grow] on you by capturing the necessary mood while staying true to who they are". [17] Writing for Clash , Nick Roseblade called the band "masters of covers" and noted how their versions were both faithful to the originals and added something new. [7] Mike Lesuer of Flood Magazine called the album "the most defining work of this stage of the project's lifespan". [3] In a review for Buzz Magazine, Menna Wilson commended the band's creative choice to tie artistic inspirations together. [14] Writing for Narc Magazine, Cameron Wright described the album as both a "love letter to music" and an "engaging and exciting listen". [4]
Jon Buckland of Bandcamp Daily said the band merging "mischievous surprises with the expected darkness" showed the band "still [liked] a little play to accompany their cutting sounds". [8] In an article for Backseat Mafia, Deb Pelser said the album showed that the band's interpretations of songs were their way of "listening closely. [12] Writing for the Quietus , Richard Foster called the album "brave" and said it was an album "which we, in turn, can employ to our own ends". [18] A Pitchfork article called the album "a perfect introduction to the influential art-rockers' dark allure". [2] Brian Stout of PopMatters said the quality and range of material on the album was "a testament to the band's talent". [1] Writing for the Line of Best Fit , Sydney Peterson said the album was both "uncompromising" and "unsparing", and pointed out how the band move between styles of music, instruments and production methods fluidly. [16]
George Ward of Clunk Magazine was slightly more negative towards the album, calling it "incredibly messy" and that "some tracks [felt] too gimmicky to be returned to". [15]
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